DOWNHILL

Julia Louis-Dreyfus     Will Ferrell

     Contrasts--some bordering on contradictions--are the hallmark of Downhill (captivating music and cinematography against marital conflict, Americans vs. Europeans, and the two main characters, Peter and Billie, individually across time.)  This is the American version of Force Majeure (2014) by the Swedish director, Ruben Östlund.  Writer Jesse Armstrong with writer-directors Nat Faxon and Jim Rash follow the original script quite closely, but have “Americanized” the family in its conflicts and in its relationships with Europeans.  But the ending in the European version is more ambiguous, less clear-cut.

     The story is that Billie (Louis-Dreyfus) and Peter (Ferrell) and their two boys are on a European skiing vacation, purportedly because Peter is grieving the recent loss of his father, and actually so they can boost up their relationship, which seems to be in a bit of a slump.  The couple is valiantly trying to maintain a cheerful togetherness when a “controlled” avalanche occurs while they are eating on the deck of a restaurant.  Billie’s and Peter’s versions of what happened next comprise another hallmark of the movie, contrast and contradiction.  How this is dealt with, interspersed with other events is the rest of the story.

     I was a bit intrigued by the filmmakers’ portraying Europeans and Americans in stereotypically obnoxious terms, such as Americans’ readiness to sue and their—to Europeans—Puritanical values, and caricatures of the sexually uninhibited Europeans.  But in the end was turned off by both.  Such European and American stereotypes in the American version of the film are intended to be funny, but I find them excruciating.  

     Julia Louis-Dreyfus brings her considerable talent to her role, which is in stark contrast with her famous television personas in television’s “Seinfeld” and “Veep.”  Here, she is “wifey”, although she is skilled in manipulation.  And in contrast to that, Will Ferrell is a good choice for a husband who is unintentionally comedic, impressionable, and lacks a gram of self-reflection.  

     I did especially like the music of Volker Bertelmann, which captures the mood of every scene so expertly it and the cinematography of Danny Cohen transport us trenchantly to the snow-covered alps setting and the drama unfolding in its midst.  

     It’s too bad when American filmmakers do not trust their own creativity and resort to remakes of fine European films.  Downhill is an example of just that.  Directors Nat Faxon and Jim Rash have made beautiful films of their own (The Way Way Back and The Descendants), and there is no reason for them to “borrow” European films for a remake.

Given a choice, you would be better off seeing Force Majeure, a 2014 French film.

Grade:  C+                                    By Donna R. Copeland

LEGO MOVIE 2

Voices of:  Chris Pratt     Elizabeth Banks     Tiffany Haddish     Will Arnett 

Alison Brie     Channing Tatum     Maya Rudolph     Will Ferrell

     Following upon The Lego Movie (2014), this sequel continues the adventures of the “Master Builders” who started out as resistance fighters against Lord Business and his army of Micro Managers. Emmet (Pratt) and Wyldstyle (Banks) were heroic in the previous story and ended up as best friends in a happy town, Bricksburg, where everyone is special.  It should be noted that Wyldstyle (Lucy as she is now called), is more pessimistic and skeptical, in contrast to Emmet’s sunny outlook. Each would like for the other to change just a bit. 

     Their town now is a darker, chaotic--maybe cooler--Apocalypseburg that is changed significantly from the sunnier Bricksburg. Within the backdrop of an exciting confrontation between their city and some invaders coming in from outer space (who are wrecking everything faster than it can be rebuilt in a city of Master Builders), Emmet and Lucy become significantly changed for the better.  Emmet is both helped and hindered by making the acquaintance of Rex Dangervest (also Pratt, signifying polar opposite traits in the same person), who is brash and confident and easily counteracts Emmet’s diffidence. When Lucy gets kidnapped, Emmet enlists the help of Rex Dangervest in getting her back.  Their struggles increase insight for Emmet and Lucy; however, Rex’s issues are more complex.

     This sequel continues the psychological journeys of the characters that were begun in the first rendition.  And in this sense, the movie seems addressed more to the adult audience than to children.  For example, themes of and questions around romance, marriage, self-actualization, and détente between warring factions make the film more interesting for adults.  The production design and animation are so engaging (almost to the point of overpowering the characters and the story), children are likely to enjoy that aspect of the film; I just don’t know how much of the import of the story actually gets through to them. I suspect little of it.  The beginning scenes are so laden with special effects, it’s often hard to decipher what is going on, especially when the chorus sings, with lyrics that are hard to decipher.

     At any rate, there are exciting scenes showing colorful vignettes of the invaders led by Queen Wa’Nabi (Haddish) and the heroic efforts of the Apocalypseburg trio (Emmet, Rex, and Lucy) to protect themselves.  The invaders are clever in “brainwashing” others to join their ranks, including Batman (Arnett) who is seduced into wedding the queen, despite his fiercely avowed bat-chlerhood.   [The manipulative clichéd means by which Queen Wa’Nabi seduces him are some of the scenes I hope do pass over the heads of children.]  But there is a quick twist toward the end of the story that seems to discount the charge of brainwashing.

     Tiffany Haddish is clearly the star in this production, with her character’s chameleon-like presentation and witty dialog.  Haddish is perfectly cast, managing to be both outrageous and lovable.  Pratt and Banks also capture their roles in a way that makes them as believable as real people. Numerous cameos of the likes of Richard Ayoade, Alison Brie, Nick Offerman, Maya Rudolph, Will Ferrell, Channing Tatum, Jonah Hill, Ralphe Fiennes, Will Forte, Will Arnett, and still others popping up throughout, do their part in increasing the entertainment value of Lego Movie 2.

The continuing adventures and personal development of Lego characters Emmet and Lucy/Wyldstyle.

Grade:  B                                    By Donna R. Copeland

GET HARD

--> Will Ferrell     Kevin Hart

-->

Get Hard is typical fare for Ferrell and Hart fans, but this one is getting some flack about its racial and gay material.  But whereas the filmmakers (Etan Cohen, director; Jay Martel and Ian Roberts, writers) do make an issue of these subjects constantly, I think they are successful in striking a balance between both points of view about race and homosexuality.  They air both sides.  Additional jibes are made about the very wealthy (1%) vs. the other 99%.  The Ferrell character (James King) is extremely wealthy, and the Hart character (Darnell Lewis), while not poor, is struggling.  My impression is that they make pointed references to the “haves’” attitudes from the beginning, and by the end the “have”—King—is definitely on the side of the majority of Americans, and justice is served in the case of some wealthy financiers.

The plot begins with James King sitting pretty with a secure position in investments, a mansion of a house in Bel Air, California, and a gorgeous fiancé who happens to be his boss’ daughter.  Like many of his kind apparently are, he is oblivious to the people taking care of him, and he feels invulnerable.  However, his charmed life is about to come to an end when he is arrested for securities fraud and embezzlement.  After a trial in which he is found guilty, the judge orders a 10-year prison sentence—although he is allowed to go free for 30 days with an ankle identification device.

King is a nice guy, and has been cordial with the car-washing service owned by Lewis.  When Lewis finds out that King is going to prison, he gives hints about what is likely to be in store for King, a white prisoner, especially in San Quentin.  King does some quick statistical analyses in his head and concludes that since Darnell is black he must have been in prison.  (We’ll ignore the fact that statistics such as “so many out of so many” says nothing about an individual.)  Darnell plays on the stereotype, and agrees to coach King on how to survive in prison, teaching him how to fight (not so successful; King is a soft, Harvard-educated intellectual), how to trash talk, how to “suck dick”, and other “skills.” 

This is an elaborate training program that involves enlisting the help of a black gang and a Nazi-like white motorcycle band.  In the process, King and Darnell become fast friends, which is in large part the point of the movie. 

Although this type of film is not the kind I gravitate toward, I do appreciate the effort to bridge the gaps between racial, sexual, and economic groups, and although much of the film is silly hi-jinx and the humor often eluded me, it held my interest.

Definitely a film for Ferrell and Hart fans.

Grade:  C+             By Donna R. Copeland