CAFE SOCIETY

Steve Carell   Jesse Eisenberg   Kristin Stewart   Corey Stottt

          This is classic Woody Allen with the sharp dialog, serendipitous meetings, and an account of human attractions and their quixotic twists and turns.  Allen is so good at setting up human dilemmas in a way that is fanciful but still realistic to everyday life.  A woman has to choose between two very different men; she makes her choice, but her path, directed by another, continues to connect with the road she did not take.  In this, Allen pits romantic love (which may or may not be lasting) against a stable relationship.  Who’s to say which is better?  I think he tosses that dilemma out to us in this case to decide for ourselves.

          We have the Hollywood mogul Phil Stern (Carell) surrounded by Hollywood glitterati of the time (the ‘30’s).  He’s so caught up in the glamour, he has trouble remembering his nephew Bobby (Eisenberg) who has come from Brooklyn to ask him for a job.  He’s basically a good guy, so tries to help Bobby find a place in his organization.  He also asks one of his assistants, Vonnie (Stewart), to show Bobby around Hollywood.  The two hit it off; he’s smitten right away, but she lets him know that she is already seeing someone.  That person seems to be out of town a lot, so Vonnie and Bobby spend lots of time together.

         Allen is clever in weaving together complexities in relationships, and this is an example of how his stories can be aching and comical at the same time.  In the midst of it, he illustrates how the rumor mill works and how impossible it is to keep something secret (taking examples from his personal life, no doubt).  An additional twist to this drama is Bobby’s life back home in New York.  He has an older brother (Stott) whom he adores, and is seemingly unaware of Ben’s shady business deals.  When things go south for Bobby, he decides to move back to New York and join Ben in opening a night club, which seems to be good for Bobby in maturing and becoming a successful businessman.

          Allen invariably puts his own persona into his films, and Bobby plays that role here in his Jewish background, family, values, and neuroticisms.  Eisenberg pulls it off beautifully, maintaining Bobby’s appeal without going over the top into obnoxiousness or being insufferable—as sometimes happens with these roles.  Carell is proving time and again that he is a gifted actor, able to blend into serious roles as well as comedy, which he was originally known for.  Stewart won awards for her performance in Clouds of Sils Maria, and she shows the same level of talent here as a woman caught in a major dilemma. 

      As a musician as well as a director, Woody selected the jazz numbers playing throughout this film, which heightened whatever mood he was going for and increased the enjoyment of the picture.  Vittorio Storaro’s stunning cinematography has the same effect by using angles and colors to intensify the depth of the viewer’s experience.  This is a visually beautiful picture showing mostly the elite in Hollywood and New York, but with references to the seamier side of life in both places.

          I think Woody Allen lives up to his reputation in Café Society as a gifted filmmaker who does much of the work himself.  The dialog he writes is always crisp and full of tragic-comic witticisms, e.g., a man bleeding on the sidewalk from “cranial ventilation.”  He is also the narrator in this film, which gives it an added touch of interest.

Gifted filmmaker Woody Allen scores again.

Grade:  A                                    By Donna R. Copeland

HUNT FOR THE WILDERPEOPLE

Sam Neill     Julian Dennison     Rima Te Wiata     Rachel House     Rhys Darby

          This quirky entertaining production is a feel-good movie in the best sense of the word, even though it is filled with tense, exciting, and mournful events.  The thing that makes it “feel-good” is its genuineness in depicting characters who are often misunderstood and seeing them triumph primarily because of their assets.  It reinforces our hope for humankind. 

       The opening scenes are striking in their sweeping vistas of mountainous terrain and native music, stopping at an isolated ramshackle cottage.  Child welfare caseworker Paula (House) and an officer step out of the car and are greeted warmly by the mistress Bella (Wiata) wearing an animal-face t-shirt.  Waiting inside the car is reluctant Ricky (Dennison) who is forced to disembark.  He is mute and sullen, clearly opposed to making this his new foster home.  He answers no questions, but walks around the house and gets back in the car.

        Of course, Paula makes him get out, Bella tries to appeal to him, but he is unmoved.  Nevertheless, he acquiesces and stands outside.  After the car leaves, Bella proceeds to draw Ricky out, first sagely appealing to him through food (he is chubby).  Thereafter, she is a master in knowing just how much to coax, how much to allow him to make his own decisions, and simply being accepting of what he does or says.  Even when he attempts to run away, she treats it with humor, but continues to watch over him in the background.  Bella’s husband Hec (Neill), however, is a grouch, and wants no part of Bella’s suggestion that Ricky call them “aunt” and “uncle”.

       It takes time and patience, but Bella is ultimately successful in winning Ricky over.  Then a tragedy occurs, which threatens Ricky’s very existence and requires him and Hec to develop some kind of partnership.  Ultimately, they end up in the New Zealand bush being chased by Paula and her minions.  (Paula, a stern, rigid, pessimistic character, puts a different meaning into “No child left behind” from what we in this country have come to understand.)

        The screenplay by Director Taika Waititi (What We Do in the Shadows) is adapted from a book by Barry Crump (although I was told by a friend that the adaptation is a loose one), and is extraordinary in blending adventure, comedy, and drama into a delightful whole.  The music by Lukasz Pawel Buda, Samuel Scott, and Conrad Wedde likewise is a find blend of native and contemporary sounds, and Lachlan Milne’s camera tracks the action through the landscape and the personal dramas with an artist’s eye.

       With his bushy beard, taciturn demeanor, and skillful portrayal, I had to keep reminding myself I was watching Sam Neill.   He and the young actor Julian Dennison are good reasons to see this film—all of its other assets aside.  Their sparring, taunting and outright fighting gradually and smoothly turns into grudging respect and collaboration.  They’re both so good at showing sullenness and a strong independent streak, trading barbs and self-satisfaction, and the complexities of a changing relationship across time.  Rhys Darby as “Psycho Sam” provides welcome comic relief during hyper-tense moments.  The two actresses, Wiata and House, in a largely male cast come on strong in showing two very different female perspectives, and provide much of the emotional warmth/heat in the film.

Hunt for the Wilderpeople is a must-see.

Grade:  A                                    By Donna R. Copeland

EAT THAT QUESTION: FRANK ZAPPA IN HIS OWN WORDS

Frank Zappa 

           Frank Zappa is perhaps one of the most misunderstood pop artists ever.  A composer, songwriter, performer, record producer, actor, and filmmaker, his range covered the genres of rock, jazz, jazz fusion, musique concrète, and classical. In the last four years of his life, he began composing classical works, some of which he recorded with the London Symphony Orchestra, which are better known in Europe than they are in the U.S. 

       Cynical and irreverent, Zappa entertained even during interviews, leaving the interviewer and the audience a little open-mouthed.  His gift for words made his responses articulate and expressive of his philosophy of life.  For example, interviewer:  “Your music sounds like you’re on drugs.”  Response:  “People aren’t accustomed to excellence.”  That is his swipe at the media rumor mill as well as a music industry more interested in making money than in making music. 

          Despite such responses (referring to his music as “excellent”), Zappa—at least in this documentary by Thorsten Schütte—seems rather humble.  For instance, when a reporter asks what he would like to be remembered for, he replies that he has little interest in being remembered, even for his music.  “It’s not important.”

        In some ways, Zappa (who died in 1993 of prostate cancer) said he was simply an ordinary man who had been married to the same woman for 26 years, had four children, and a mortgage.  He didn’t do drugs, and forbid their use on the road (a business risk).  He was a good businessman, and although he was exacting in his music, he allowed his musicians (primarily the Mothers of Invention) free rein.  That does not mean that his professional career went smoothly; he had numerous conflicts throughout his life that resulted in legal struggles.

          Zappa reacted strongly to the censorship of his work by MGM and Albert Concert Hall in London, and testified against Tipper Gore’s proposal for a law putting warnings on record jackets for rock music.  He regarded no words or sounds as “dirty”, and poked fun at MGM for editing out the word “pad” from one of his songs about a waitress taking orders for food. 

        Schütte’s documentary is, just as the title implies, taken primarily from interviews he gave across the years.  The film is successful in showing the essence of a musical genius with idiocyncratic views that got translated into a great deal of satire and spoofs on religion, politics, and American culture.  I only wish it had been more comprehensive—and perhaps that is something for the future.  Zappa and his work are worthy of a full-fledged account of his interesting life and Impressive achievements.

A musician worthy of a better reputation in music and life.

Grade:  B+                        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 INFILTRATOR

Bryan Cranston   Diane Krueger   John Leguizamo   Benjamin Bratt   Olympia Dukakis   Amy Ryan

          Based upon a real operation in the 1980’s, The Infiltrator is edgy and tense, with periodic earsplitting bloody horrors that make you jump out of your seat.  (After about the sixth time, this gets to seem like an annoying cinematic trick, to quiet the screen before an explosive blast that kills someone.) Despite this little annoyance, the story is exciting and well told by Director Brad Furman and writer Ellen Sue Brown (book by Robert Mazur).  It is fascinating to see the day-to-day planning and execution of such an operation, and the film is especially good at showing us the binds secret agents must undergo in forming close alliances with criminals only to betray them.  The agony and thrills also come as they act out their made-up personas and have close calls, such as a recording device being discovered.

           Bob Mazur (Cranston) has had a long career in U.S. Customs as a special agent.  He is eligible to retire, but is always staying on for “one last job.”  This operation is to infiltrate Pablo Escobar’s Colombian Medellin Cartel to interrupt the flow of cocaine to this country by following the money laundering trail.  Mazur’s idea is that this will bring them to the players at the top.

          Cranston’s Mazur makes a convincing portrayal of a skilled, experienced agent who is still able to be surprised and even a little flummoxed.  It’s an interesting character study into someone who is reliable, stable, and genuine in his private life but adept at taking on a role where he is able to use those traits to get someone to trust him in a basically duplicitous relationship.  And for the most part, this character is hardened to emotional pulls, but does show some vulnerability after oh-so-close calls.  Cranston pulls this off without even seeming to be trying, a natural.  He is a large reason to see the movie.

          Diane Krueger as another agent, Kathy, playing Mazur’s “fiancé” is a worthy partner in both acting and in the film’s special operations story.  It’s a nice touch to present her as an agent first who is new on the job and rather plain, then show her to be a sharp, glamorous, multi-lingual woman who warmly reaches out to her partner’s contacts.  (I remember her especially for her portrayal of a border agent in the TV drama “The Bridge”, someone with a touch of Asperger’s.  None of that here!)

       Other actors deserving of credit are John Leguizamo as Mazur’s unpredictable co-agent, Amy Ryan as the head of the Customs agency, Olympia Dukakis as Mazur’s flamboyant aunt, and Benjamin Bratt as Mazur’s wealthy mark who befriends Mazur and Kathy.

A thriller that will grab you and make you jump in your seat.

Grade:  B                         By Donna R. Copeland

THE SECRET LIFE OF PETS

Voices of:  Louis C.K.     Eric Stonestreet     Jenny Slate     Kevin Hart     Albert Brooks  

          Loveable?  Playful?  Mischievous?  Loyal?  Sometimes possessive?  All pet owners know their darlings are all of these, but in The Secret Life of Pets, they are these and more—adventurous, spiteful, heroic, and really comical.  Basic credit should go to the directors (Chris Renaud and Yarrow Cheney), the writers (Ken Daurio, Brian Lynch, Cinco Paul), Production designer (Eric Guillon), and art director (Colin Stimpson).  And of course to all the actors, especially Louis C.K., Hart, Slate, and Brooks.  Everything comes together seamlessly, to make it a colorful and even exciting experience.

         In the beginning, we’re given a picture of the “normal” life of these pets after their owners leave them during the day.  Max (Louis C.K.) particularly misses his owner, and waits patiently by the door just pining for her to return and wondering where on earth she goes.  But horror of horrors, she comes in one day with a HUGE dog named Duke (Stonestreet), who proceeds to edge Max out of his bed, his feeding bowl, and his special status.  They begin to vie with each other repeatedly, and on one of their excursions outdoors get caught by dogcatchers and taken to the pound.

          This is where the heroics begin to surface, as Snowball (Hart) and his rascal following spring them from the pound and take them to the city sewers where animals who hate their owners band together and look down on pets as wimps and betrayers of the animal kingdom.  “Revolution!” they yell when they are “liberating” household pets.  This is where the challenge comes for Max and Duke, because as part of their initiation, they have to recount how they killed a human enemy. 

        Fantastical escapes, chases, and run-ins follow chaotically, which constitute the exciting and funny parts of the story.  Some of it is led by the complexity of the cat Gidget’s (Slate) having a giant crush on Max, and when he disappears, she enlists the help of many others to find him and save him.

         The music of the composing wizard Alexandre Desplat pumps up the intrigue and playfulness throughout.

         The Secret Life of Pets is not all fun and games, and the loyalty and heroics shown are good models for children to see.  The ending is the pièce de résistance, though, when the most vengeful character finds solace in a warm embrace.

An animation that animates…delightfully.

Grade:  A                                    By Donna R. Copeland

MIKE AND DAVE NEED WEDDING DATES

Zac Efron     Adam Devine     Aubrey Plaza     Anna Kendrick

          Mike (Devine) and Dave (Efron) need much more than wedding dates in this film.  Their parents and sister and her fiancé sit down for a serious talk before the occasion, which will take place in Hawaii, and they beg them not to ruin still another family get-together.  They’re shown videotapes of their bad behavior in the past, and after being defensive, they listen to their sister’s plea.  The family believes that if the two bring “nice girls” as dates, it will have a taming effect on them.

          I suppose that it’s no accident that this movie is like an extended sitcom—and a bad one that seems never-ending—because the experience of the director (Jake Szymanski) and writers (Andrew J. Cohen and Brendan O’Brien) has been primarily in television.  It’s a predictable farce, with the young men getting dates, Tatiana (Plaza) and Alica (Kendrick), who are as bad as they are in real life (e.g., they have just been fired from their waitress jobs for coming to work drunk).  They have schemed to get invited and are just looking for a “vaca.”  So original—not!  So funny—not!

       The writers seemed to have no boundaries in coming up with “pranks” to ruin a wedding; it seems like whatever they thought of that would be terrible to happen at a wedding, they put in the script.  Of course, drugs and alcohol play a large role, along with lying, screaming, and conniving with little thought given to consequences.  This gets very tiresome as scene after scene intended to be funny falls flat, either because it’s expected or because it’s too cruel/awkward/crude.

          Given the roles presented to them, the actors do a credible job in acting their parts.  Efron and Devine do come across as brothers with a mix of competitiveness and love, and Plaza and Kendrick as women at sea not knowing what to do with their lives.  When they get serious, the characters are mildly interesting, but they inevitably end up looking one-dimensional—any change that transpires appears to be magical.  In that vein, the story ends illogically in that all of the incompetent doofuses end up being organized, effective heroes after all the havoc they’ve wrought.

            I see no reason for anybody anywhere at any time to see this movie, and there are a ton of reasons not to see it.  To name a few:  It glorifies alcohol and drugs, it glorifies foolhardy risk-taking and impulsivity, it contains constant yelling and swearing and has a paucity of soul searching, thoughtful contemplation.  Someone might reply to this, “It’s entertainment!  It doesn’t have to have any depth or serious thought.”  My reply?  “It doesn’t?” 

Skip this movie; it will be bad for you.

Grade:  F                                    By Donna R. Copeland