A RAINY DAY IN NEW YORK

Timothee Chalamet     Elle Fanning     Liev Schreiber     Jude Law     Diego Luna

Selena Gomez     Rebecca Hall     Cherry Jones

     Completely fanciful.  Woody Allen’s latest film comes straight from his brain—probably on a rainy day in New York.  In the beginning, the dialog, the music, Chalamet’s character—everything is so enigmatic of the creator that it’s hard to put Woody out of the story.  And he still stays for much of the story, but as it gets more and more madcap, he recedes a little bit.

     Two upstate New York college students are off to New York City for her, a budding journalist, to interview a well-known filmmaker about his latest film for the college newspaper.  She is definitely star-struck, and he is simply excited about going back to his hometown to revisit places like MOMA, the Carlton, Restaurant Daniel, and his favorite piano bars.  Allen seems well aware of males in such situations to make her trip his trip.  They head out, happily in love; he greeting the rainy weather as a welcome friend and romantic opportunity.  (One of the things I found hilarious about the movie is the constant rain and characters’ different reactions to it.)

     The differences in their expectations make up the heart of the movie.  Very soon after they arrive, Ashleigh (Fanning) and Gatsby (intended reference), played by Chalamet, are on very different arcs of experience.  As evidence(?) of her southwestern U.S. routes, she is carried along by people she’s impressed with, with little will of her own.  He, being the cosmopolitan New Yorker, is constantly thrown to his own devices, which is de rigueur for him, and he orchestrates his own way, keeping a well balanced eye on who he is.  She loses herself completely in situations; he is constantly aware of who he is wherever he is, even when new experiences come his way.

     Ashleigh confronts a famous film director’s (Schreiber) existential crisis, his writer’s (Law) dealing with marital infidelity, and a film idol’s (Luna) disingenuous flirtation.  Actually, they’re all smitten with Ashleigh—I suppose, to make a point in that it’s almost a cliché now.  She embodies that wish that they all have of a young, beautiful woman who’s always sympathetic and adoring.

     On the other hand, Gatsby deals with not being adored all the time, having to interact with an ex-girlfriend’s little sister (Gomez) who is clearly not impressed with him and apprises him of her sister’s low ratings of him.  When he ends up having to attend his mother’s (marvelous Jones, as you’ve never seen her) hated society bash and he has a real conversation with her, the film gets down to the bottom line of what I think it’s about—which is, biases that separate people on trivial grounds and the importance of going beyond the apparent and digging deeper into situations and people.

     Woody Allen is one of our most gifted filmmakers who is able to attract the best actors, keep his Oscar-winning cinematographer Vittorio Storaro (too many awards to name) on board, and provide music that captures every moment of every scene.  Artistry abounds in every component of his films.  Yet, something has happened that A Rainy Day in New York is met with only mediocre ratings by critics.

     Maybe it’s too much Woody?  His genes are in the story from start to finish, to be sure, and this starts to feel like a tired joke.  And much of the action recalls too many of his previous works.       This is all true.  Beyond that, my personal reaction was against his casting a woman from Arizona as stereotypically naïve/uninformed/rather stupid. Numerous jokes about non-New York people were made as if anyone outside New York City is naïve at best and uneducated and uncouth at worst—all reflecting the old joke that New Yorkers don’t recognize anything beyond its borders.   

 

Ya have to be a Woody Allen fan to enjoy this movie; otherwise, you may be nonplussed unimpressed, or even offended.

 

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

HOTEL TRANSYLVANIA 3: SUMMER VACATION

Voices of:  Mel Brooks     Adam Sandler     Selena Gomez     Andy Samberg     Kathryn Hahn
Fran Drescher     Steve Buscemi     David Spade     
Keegan-Michael Key     Chris Parnell     Molly Shannon

     For a little background information, Dracula (Sandler) is a widower with a grown-up daughter called Mavis (Gomez) who has decided they both need some R&R and more family time.  So for a surprise, she has arranged for all of them to go on a trip, without telling them it will be a cruise—which Drac would never agree to beforehand. Their party will consist of Mavis’ human husband Johnny (Samberg), and their child Dennis (Asher Blinkoff)—along with a trail of friends:  Wayne (Buscemi), Griffin (Spade), Frank (James), and others.  

     They go on a harrowing plane trip, and are dropped off in the Bermuda Triangle (a place where only the adults will sense the danger), where they board the ship, the Legacy.  (The name is something of a pun in that Drac and the Van Helsing families have been archenemies for generations, and both have an interest in continuing their legacy.)  Drac has had a lot of anxiety about the trip, and Mavis has wisely kept the cruise as a surprise. Now, it’s all she can do to convince him to board the ship for the sake of the family.

     Drac goes into a funk because he hates being on a boat.  In his despair, he has given up on having the “zing”, thinking one can only experience that once in a lifetime, and he had that with his wife. So, of course, much to his surprise, when the captain of the ship, Ericka (Gomez), appears, his heart goes thumpedy-thump, and he gets the zing.

     The thrills and chills of the story will stem from Erica’s heritage:  Her great grandfather is a Van Helsing, and he is on board the ship and counting on her to use the stowed away “instrument of destruction” to do away with Drac.  From what her ancestors have told her, Erika is already chomping away at the bit to do away with him, is delighted when she sees he is attracted to her, and begins to plot his demise.  But Van Helsing instructs her to wait until she can use the special instrument. She proceeds anyway to try to do him in, but neither she nor her great grandfather have anticipated the power of the zing.

     Sony Pictures has created an impressive production design and animation with special effects, and there is a lot of cartoon-like action throughout the film, which will please many viewers.  I thought it odd, though, that for a children’s movie, the thrust of the story would be about love, murder, and generational grudges—more adult-type of subjects.  It does end with a positive message about acceptance of differences and the unity that should exist among all living beings on earth—whether human, animal, monster, or whatever.  And this is done cleverly with music from three songs (“Good Vibrations”, Don’t Worry; Be Happy”, and “Hey Macarena”).  Everyone should have an opportunity to experience the zing.

Summer vacation can mean many things, including one with monsters aboard a cruise ship.

Grade:  C                                    By Donna R. Copeland

NEIGHBORS 2: SORORITY RISING

Seth Rogen     Rose Byrne     Chloe Grace Moretz     Dave Franco     Selena Gomez

       Neighbors 2 is essentially the same as Neighbors (2014), except that gender stereotypes are even more pronounced, although the filmmakers try to promote women and gays in a more positive light toward the end, as if to make up for earlier scenes.  In earlier scenes women are shown as giggly, squeaking, sobbing uncontrollably at a sad show on television, and on and on.  They’re depicted as dumb (e.g., not knowing what ‘escrow’ is, not recognizing the implication of water breaking in a pregnancy, and immediately accepting of a man who appears authoritative to them and promises rescue).  Note that all the writers are male, so expect this to be a male fantasy with a few curbs just to be politically correct.

         Granted, men are portrayed as dumb and bumbling too (clueless about parenting, unable to pull off a heist) and prejudiced against gay men, but they’re also the ones with ideas and computational abilities.  Actually, the film for the most part is accepting of gays by portraying them more or less realistically.  I wish they had been as open-minded toward women.

        The first Neighbors chronicled the trauma of a young couple with a baby who is unlucky enough to have a fraternity move in next door (loud partying, mainly).  Things got partially resolved, and now that the couple is expecting another child, they want to sell their house and move somewhere else.  The problem is that just when they are getting close to finalizing the sale, a sorority moves in next door, which makes matters worse (Dontcha know—women are always worse than men!). 

          What follows is the same kind of one-upmanship that we saw in the first Neighbors, with ridiculous ideas turning slapstick bad.  The only time I really laughed was when a young person not knowing about landlines pulled the “old people’s” phone off the wall, not realizing it was attached. 

         Neighbors 2 is an excellent example of a film not needing a sequel, but filmmakers see the $$$ and do it anyway.  They recycle the same plot and jokes trying to refit it to be more politically correct (although they still don’t seem to be aware that the word “frat” is not really accepted in Greek communities at universities).  I didn’t hear too many laughs in the screening I attended with around 200 people.  Maybe it’s not so funny after all?

The not-funny-again sequel to the 2014 Neighbors.

Grade:  D                        By Donna R. Copeland