Showing posts with label Marisa Tomei. Show all posts
Showing posts with label Marisa Tomei. Show all posts

Tuesday, 28 October 2025

Movie Review: Love The Coopers (2015)


Also Known As: Christmas With The Coopers  
Genre: Dramedy  
Director: Jessie Nelson  
Starring: Diane Keaton, John Goodman, Marisa Tomei, Alan Arkin, Amanda Seyfried, Timothée Chalamet, Ed Helms, Jake Lacy, Anthony Mackie, June Squibb, Olivia Wilde  
Running Time: 107 minutes  

Synopsis: Christmas Eve is approaching, and four generations of the imperfect Cooper family are gathering for dinner. Sam and Charlotte (John Goodman and Diane Keaton) are hosting but also hiding their disintegrating marriage. Their black sheep daughter Eleanor (Olivia Wilde) meets a soldier (Jake Lacy) at the airport. The Cooper's divorced son (Ed Helms) is struggling with unemployment, while his teenaged son (Timothée Chalamet) is pursuing his first crush at the mall. Charlotte's sister (Marisa Tomei) is arrested for shoplifting and has an encounter with a police officer (Anthony Mackie), while Charlotte's father Bucky (Alan Arkin) has an argument with his regular diner server (Amanda Seyfried). 

What Works Well: With notable determination, this Christmas movie seeks a contrarian stance, avoiding feel-good vibes and zooming in on all that is wrong with the lives of the Coopers. Charlotte is doing her best to pretend and get on with the Christmas spirit, but all the family members are flailing as their character faults and life failures are revealed. The simple message of celebrating normal imperfection is straightforward and well-intentioned, and the opening two thirds offer the added enjoyment of guessing all the family connections. The quality cast and numerous mini-plots ensure the movie never dawdles in any one place for too long.

What Does Not Work As Well: After a lot of hard work to represent flawed characters, the resolutions run away from difficult outcomes and just surrender to traditional endings. With so many stories to tell, some of the more interesting secondary characters, notably Amanda Seyfried's diner server and Anthony Mackie's police officer, are shortchanged.

Key Quote:
Bucky: That feeling like you've landed in the wrong life. Everybody feels that way.



All Ace Black Movie Blog reviews are here.

Friday, 10 January 2025

Movie Review: The Paper (1994)


Genre: Dramedy  
Director: Ron Howard  
Starring: Michael Keaton, Robert Duvall, Marisa Tomei, Glenn Close, Randy Quaid, Jason Robards  
Running Time: 112 minutes  

Synopsis: In Manhattan, Henry (Michael Keaton) is the dedicated Metro editor at the scrappy Sun newspaper. He is embarrassed when his team fails to cover a late-night and seemingly racially-motivated double-murder. Nevertheless Henry is being interviewed for a role at the prestigious Sentinel paper, a career move encouraged by his pregnant wife Martha (Marisa Tomei), a former reporter. Meanwhile Henry spars with rival editor Alicia (Glenn Close), who is dealing with personal financial issues, and managing editor Bernie (Robert Duvall), who has health concerns. When two innocent black youths are arrested in the double murder case, Henry sacrifices everything to uncover the truth, but he only has a few hours before the next edition goes to press. 

What Works Well: Taking place over roughly 24 hours, this is a madcap, high-energy, multi-storyline, humour-infused celebration of newspaper office dynamics. A malfunctioning air conditioning system, complaints about office chairs, petty coverage of parking disputes, career decision points, personal and family pressures, debates about which stories to cover, and the scramble to obtain photographs, all get in the way - or provide fuel for - the business of uncovering the truth and reporting on the biggest stories of the day. Ron Howard maintains a remarkably firm grip on the barely organized chaos, and an excellent cast invests in the disparate characters inhabiting the newsroom.

What Does Not Work As Well: A few too many long tracking shots within the newsroom creep into the final cut, and some of the attempts at humour degenerate into unbecoming physical slapstick or just pure shouting.

Key Quote:
Henry: A clipboard and a confident wave will get you into any building in the world!



All Ace Black Movie Blog reviews are here.

Sunday, 17 March 2024

Movie Review: Upgraded (2024)


Genre: Romantic Comedy  
Director: Carlson Young  
Starring: Camila Mendes, Lena Olin, Marisa Tomei  
Running Time: 104 minutes  

Synopsis: In New York, Ana (Camila Mendes) is a junior trainee at the Erwins art auction house led by the demanding Claire (Marisa Tomei). On a flight to London, Ana flirts with the dashing William (Archie Renaux), and plays along when he mistakes her for a senior executive. In London she meets William's mother Catherine (Lena Olin), a wealthy widow about to sell an expensive art collection. Ana enjoys a romance with William and races to satisfy Claire's whims, but her lies threaten both her love life and her career.

What Works Well: This bright romantic comedy mixes elements from Working Girl with The Devil Wears Prada, and benefits from the prestige of Marisa Tomei and Lena Olin in key supporting roles. Elsewhere, Camila Mendes sells the premise of the resourceful up-and-comer leveraging an unexpected opportunity to skip a few steps along the corporate ladder, and director Carlson Young almost resists the temptation of polishing London into a dream romantic destination. 

What Does Not Work As Well: All the usual coincidences and misunderstandings required to kick the genre machinery into gear are here, starting with Ana's fortuitous meeting with the son of her employer's most important client, passing through the lovers' big argument, and ending with the requisite tidying up of all loose ends. Archie Renaux struggles in the handsome prince role, and the chemistry between the leads is confined to telemovie levels of blandness.

Conclusion: Romantic banter at 30,000 feet still has on-the-ground consequences.



All Ace Black Movie Blog reviews are here.

Sunday, 8 January 2023

Movie Review: Only You (1994)


Genre: Romantic Comedy
Director: Norman Jewison
Starring: Marisa Tomei, Robert Downey Jr., Bonnie Hunt
Running Time: 109 minutes

Synopsis: Since she was a child, Faith (Marisa Tomei) has believed her destiny is to meet and marry a man called Damon Bradley. Instead she is 10 days away from marrying boring podiatrist Dwayne. When she receives a chance phone call from someone called Damon Bradley who is traveling to Venice, Faith immediately sets off to Italy accompanied by her best friend and sister-in-law Kate (Bonnie Hunt), who has her own marriage problems. In Rome Faith bumps into an American (Robert Downey Jr.) who may just be the man of her dreams, while Kate is pursued by suave Italian shop owner Giovanni (Joaquim de Almeida).

What Works Well: Marisa Tomei and Robert Downey Jr. are an attractive couple and share an effortless chemistry. Director Norman Jewison surrounds them with scenic Italian locations, including Venice, Rome, and the picturesque seaside village of Positano. Some of Tomei's gowns are stellar, while Bonnie Hunt injects the typical sidekick role with more-than-usual substance.

What Does Not Work As Well: The premise is ridiculous, even for a rom-com, resulting in Faith acting like a nitwit. But Robert Downey Jr.'s character is an unreliable serial liar, so maybe they are a perfect match. 

Conclusion: The alluring stars and Mediterranean backdrops are easy to enjoy, just as the entire movie is easy to forget.



All Ace Black Movie Blog reviews are here.

Sunday, 17 July 2022

Movie Review: Inescapable (2012)

A foreign intrigue missing person thriller, Inescapable aims for cerebral action but trips on a mishmash of non-cohesive ideas.

In Toronto, Syrian immigrant Adib Abdel-Kareem (Alexander Siddig) has created a good life for his family. But he is stunned by the news his daughter Muna, a photographer supposedly on vacation in Greece, has gone missing in Damascus. Adib is a former Syrian military intelligence agent who left his home country under a cloud. Now he reconnects with his ex-fiancée Fatima (Marisa Tomei) for help to re-enter the country and search for his daughter.

In Damascus Adib registers at the Canadian embassy with diplomat Paul Ridge (Joshua Jackson), who may have something to hide, then visits his former colleague Sayid Abd Al-Aziz (Oded Fehr), now a senior military officer. Meanwhile Interior Ministry security agent Halim starts intimidating Adib, as old secrets and betrayals are revealed.

Written and directed by Ruba Nedda, Inescapable attempts to thread the needle between considered geopolitical echoes and routine action, in other words a mix of Missing and Taken. Not surprisingly, the narrative falls into an unimpressive gap. The action scenes are unnecessary and delivered with stiff clumsiness. And all the reflections on past loves, friendships lost, sacrifices made, and national secrets traded remain just that - uncoordinated ideas floating in the script without anchors or meaningful direction.

Filming in Johannesburg on a small budget, Nedda does impressively recreate corners of Damascus, capturing the sights, sounds, and dictator-dominated aesthetics of a police state convulsing with overlapping security apparatus. Less effective are the fragmented accents, the foreign actors struggling to convince. Alexander Siddig is adequate, navigating the role with reasonable levels of sweat; Marisa Tomei flounders in attempting to portray a Syrian woman and jilted lover.

Muna as the main victim and cause of Adib's adventure is missing from the heart of the film, robbing the drama of a key source of sympathy, and it's never clear how close Adib is to finding his daughter. Antagonist Halim's repeated demands for "the photographs", does not help. But at 93 minutes Inescapable at least does not linger. Hidden agendas and personal rivalries are blurted out then hastily tidied up, impressive efficiency accompanying multiplying improbabilities.



All Ace Black Movie Blog reviews are here.

Thursday, 10 June 2021

Movie Review: In The Bedroom (2001)

A family drama with crime elements, In The Bedroom quietly explores a marriage under severe stress, and emotional endurance tested by a frustrating justice system.

Matt and Ruth Fowler (Tom Wilkinson and Sissy Spacek) are a middle-aged couple living in the lobster fishing community of Camden, Maine. Matt is a doctor and a veteran of the Navy, while Ruth is a music teacher, and together they are slightly bewildered as their college-aged son Frank (Nick Stahl) enjoys a summer romance with older divorcee Natalie (Marisa Tomei). She has two young kids from no-good ex-husband Richard Strout (William Mapother), the scion of the family operating the local cannery.

Ruth is worried Frank will throw away his college future to spend more time with Natalie, but Matt is more accommodating of his son's liaison. When Richard returns and starts to harass Natalie, Frank feels obligated to intervene, triggering events that will test every aspect of Matt and Ruth's lives.

Adding further details to the plot summary would spoil a brooding story of loss, rage and revenge crackling with understated tension. The seemingly routine travails of a small family residing in an idyllic seaside community take a sharp turn into tragedy, rocking the foundations of Matt and Ruth's marriage and flooding their bedroom sanctuary with grief and self-doubt. Director Todd Field co-wrote the script with Robert Festinger as an adaptation of an Andre Dubus short story, and creates an adult-oriented drama with ever-increasing turmoil punctuated by short and sharp eruptions of violence. 

The narrative draws strength from silence and the contrasting characters of Matt and Ruth. He keeps his emotions bottled and approaches every situation with detached calmness. She is a more expressive artist, carrying the weight of worry and more openly disapproving of their son Frank's fling with Natalie. When their world falls apart the creeping hostility between them becomes an impenetrable wall of unstated anger and coiled frustration.

The film is long at 131 minutes, and in the second half Field tests the material's depth with some repetitive scenes underlining already established dynamics. And despite the length, a couple of characters fade out of relevance. But superb performances from Tom Wilkinson and Sissy Spacek, both approaching career peaks, help overcome the slower patches. They are never better than when Matt and Ruth unleash their bottled-up anger at each other in a savage exchange of accusations. The supporting cast includes Karen Allen in a small role as a tough defence attorney.

In The Bedroom is where intimacy and trust reside. Faced with calamity and injustice, Matt and Ruth also need to create space for painful truths and new secrets. 



All Ace Black Movie Blog reviews are here.

Saturday, 29 May 2021

Movie Review: Human Capital (2019)

A drama featuring several storylines ensnaring two families, Human Capital explores class divisions and the twin pursuits of wealth and happiness. The multi-pronged narrative is handicapped by diffused focus.

After an awards banquet for high school students in upstate New York, a waiter is the victim of a hit-and-run accident on a country road. Events involving the Hagel and Manning families before, during, and after the fateful night are then revealed.

Real estate agent and recovered gambling addict Drew Hagel (Liev Schreiber) befriends wealthy and successful hedge fund manager Quint Manning (Peter Sarsgaard). Despite being financially stretched, Drew borrows $300,000 to invest with Quint and hides the transaction from his pregnant wife Ronnie (Betty Gabriel), a psychiatrist. The subsequent return on investment is not what Drew expected.

In parallel, Quint's wife Carrie (Marisa Tomei), a former B-movie actress, is feeling neglected. She convinces Quint to buy a heritage theatre as a side-project to support the arts. She is then romantically pursued by the theatre's tweedy artistic director Jon (Paul Sparks). The final story features the Hagels' teenaged daughter Shannon (Maya Hawke), who remains friends with the Mannings' son Jamie (Fred Hechinger) after they break up. She then starts a torrid romance with small-time drug dealer Ian (Alex Wolff), one of Ronnie's patients. On the night of the hit-and-run, the two families are seated at the same table, and seething financial and personal tensions contribute to tragedy.

An adaptation of the Stephen Amidon novel directed by Marc Meyers and written by Oren Moverman, Human Capital enjoys a strong opening propelled by complex Liev Schreiber and Peter Sarsgaard performances. The appetizing first chapter carries a looming darkness into the superficially idyllic suburbs, as nothing good can come from the unbalanced friendship between the recovering gambling addict and the oily hedge fund manager. Drew's pursuit of a quick financial windfall has all the predictable outcomes of a non-swimmer wading into the deep end of the pool.

But momentum stalls with the disposable middle episode featuring Carrie's disgruntlement, and the final act defaults to a bland teen angst mystery, new characters like Ian and his seedy uncle introduced late and in shorthand. As Meyers focuses more of his attention on the least interesting hit-and-run whodunnit drama, the victim's story is carelessly neglected, its absence a gaping black hole.

The common themes are disgruntled souls, misplaced priorities, and dashed hopes and dreams. And within all the social classes, children are left behind as their parents focus on monetary wealth. The material contains kernels of interest, Marisa Tomei and Maya Hawke invest heartily in their supporting roles, and with more commitment to each of the characters three separate movie-length narratives can be imagined. Instead Human Capital embarks on a choppy downward journey, every subsequent deposit reducing the yield.



All Ace Black Movie Blog reviews are here.

Thursday, 15 April 2021

Movie Review: Before The Devil Knows You're Dead (2007)

A crime-gone-wrong drama, Before The Devil Knows You're Dead enjoys a startling premise and sparkling cast, but the follow-through is only middling.

The movie jumps back and forth in time. Chronologically, brothers Andy and Hank Hanson (Philip Seymour Hoffman and Ethan Hawke) both have serious financial problems. The younger and more irresponsible Hank cannot keep up with alimony payments to his ex-wife Martha (Amy Ryan). Andy enjoys a managerial job but has an expensive drug habit and is pilfering money from his employer, with a looming audit about to expose his theft. Andy is married to Gina (Marisa Tomei), but behind his back she is having an affair with Hank.

Andy talks Hank into robbing the suburban jewellery store of their parents Charles and Nanette (Albert Finney and Rosemary Harris). With the insurance covering the losses and no one getting hurt, it's supposed to be a victimless crime to make some quick money. But absolutely nothing will go according to plan, and both Andy and Hank will find themselves sinking deeper into trouble of their own making.

Carrying a Coen Brothers vibe but lacking the icy streaks of dark comedy, Before The Devil Knows You're Dead traces a series of brotherly missteps leading to disaster. The well-labelled time jumps in Kelly Masterson's script are unnecessary but nevertheless boost the engagement value, while Sidney Lumet directs with an eye for the little details. The film's opening is strong, before the second act deflates and the climax unravels.

At its core this is a story of two losers stuck in a hole but never grasping the imperative to stop digging. Andy's drug use is sabotaging his career and marriage as he allows the resentment at being his father's second favourite son consume him. Hank has coasted through life on now-fading boyish looks while taking little responsibility for anything. He is now broke, short-changing his ex-wife and pursuing an affair with his sister-in-law.

Masterson and Lumet enjoy piling on the agony for the two dimwits, but the film suffers in the absence of any sympathetic, or even just smart, characters. Events spiral out of control and the brothers descend from twilight into absolute darkness, but since they author their own predicaments, their fate registers somewhere between well-deserved and who cares.

Their dad Charles is the closest thing to an innocent victim who deserves better, but most of his scenes are wasted on a truncated bang-your-head-against-the-wall subplot involving police indifference. Another frustratingly careless script dead-end involves Hank's misadventures with a rental car.

Philip Seymour Hoffman, Ethan Hawke, Albert Finney and an underused but frequently disrobed Marisa Tomei paper over most of the weaknesses with dedicated performances. Hoffman stands out as a brooding, coiled, and near-the-edge presence. As the plot lurches towards untidy conclusions, Michael Shannon appears late and livens up the post-robbery narrative in a couple of pivotal scenes as another lowlife dabbling in crimes he should avoid.

Before The Devil Knows You're Dead dances with misdeeds, turning up the temperature but lacking emotional warmth.



All Ace Black Movie Blog reviews are here.

Tuesday, 31 December 2019

Movie Review: My Cousin Vinny (1992)


A courtroom comedy, My Cousin Vinny finds good laughs in the story of a scrappy Brooklyn lawyer rising up to the challenge of defending his wrongly accused cousin in the deep south.

While on a road trip through Alabama, friends Bill Gambini (Ralph Macchio) and Stan Rothenstein (Mitchell Whitfield) are caught in the wrong place at the wrong time and arrested as prime suspects in the murder of a convenience store clerk. Bill recruits his Brooklyn-based cousin and fledgling lawyer Vinny (Joe Pesci) as his defence lawyer. He arrives in town with long-suffering fiancee Mona Lisa Vito (Marisa Tomei), and admits to have never been involved in a murder case nor even appeared in court.

Nevertheless Vinny convinces Judge Chamberlain Haller (Fred Gwynne) of his qualifications by bending several truths. Up against prosecutor Jim Trotter (Lane Smith), Vinny appears out of his depth and is repeatedly jailed for contempt, with Mona Lisa bailing him out every time. With several witnesses claiming to have seen Bill and Stan flee the murder scene, proving their innocence will be Vinny's challenge of a lifetime.

The initial plot construct required to land Bill and Stan in a heap of trouble is contrived in the extreme. But once the script by writer and co-producer Dale Launer gets past the required set-up and director Jonathan Lynn unleashes the duo of Vinny and Mona Lisa on the small fictional town of Wazoo, Alabama, the fun starts in earnest.

Bill and Stan are essentially sidelined for the entire second half, Vinny and Mona Lisa take over, and the strength of the movie resides in the partnership between the long-engaged bickering couple. He is the fast-thinking ambulance chasing injury lawyer about to pretend he knows something about murder cases. She is sarcastic, bored and under-appreciated, and a sight to behold in a succession of over-the-top outfits and hairdos. Together they banter in broad Brooklyn accents, with an undercurrent of love and mutual appreciation holding them together - barely.

To build up tension for the climactic court battle Launer colours in plenty of local character. Vinny and Mona Lisa tangle with the locals, but more memorably cannot find a place to sleep that is not interrupted by one calamity or another before the crack of each dawn.

Once the action moves to the courtroom My Cousin Vinny soars in both drama and comedy. While maintaining a light touch and accessible arguments, the film is lauded (and used as an educational tool and reference point) for accurately representing the tactics and nimble thinking required to engage on evidence and expert witnesses.

And to Launer's immense credit the story contains no evil antagonists. Judge Haller, prosecutor Trotter and sheriff Farley (Bruce McGill) are all simply doing their jobs. Vinny is the disruptive fish out of water, and he is just trying to do his best.

With the case balanced on a knife's edge Mona Lisa finally gets her moment to shine, and Marisa Tomei delivers triumphantly unexpected testimony from the witness stand, grabbing the Best Supporting Actress Academy Award in the process. My Cousin Vinny claims the title credit, but it's the woman in his life who deservedly steals the spotlight.






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Thursday, 7 February 2019

Movie Review: The Rewrite (2014)


A romantic comedy with slightly more-than-typical substance, The Rewrite is an amiable-enough self-discovery story.

Los Angeles-based screenwriter Keith Michaels (Hugh Grant) has one big hit in his past, a movie called Paradise Misplaced. After a series of flops his agent Ellen (Caroline Aaron) suggests a change in scenery, and arranges a writer-in-residence teaching position at Binghampton University, New York. Keith accepts, intending to do as little work as possible since he believes writing is inspiration and cannot be taught.

Upon arriving on campus the womanizing Keith immediately starts a relationship with student Karen (Bella Heathcote), and selects only attractive women and unattractive men to populate his class. Single mom Holly (Marisa Tomei), who believes in second chances and that everyone can be taught to be better, forces her way into his class. Keith clashes with uptight professor Mary (Allison Janney), a Jane Austen specialist. As the semester progresses Keith starts to draw inspiration from his students, and awakens to a few realities about himself while a romance with Holly appears possible.

Taking the man's perspective, The Rewrite focuses less on traditional romantic comedy clichés and invests more in the central character's journey. Director and writer Marc Lawrence (a Binghampton graduate) is a frequent Hugh Grant collaborator, and knows how to get the best out of his star. Keith Michaels is the prototypical Grant persona, the lovable cad everready with a quip, quintessentially English, a hopeless skirt-chaser, and riding self-depreciation all the way to the bottom.

Lawrence creates fertile ground for the long journey of redemption. Binghampton represents Keith's last chance saloon, and the people he meets in his new surroundings provide the opportunity for him to either dig his hole deeper or climb out of it. His start is inauspicious, bedding Karen, insulting Mary, ignoring Holly and dismissing the value of teaching and learning.

The bulk of the movie is then about Keith working his way out of the doldrums and towards some sort of awakening to rediscover his purpose, and while it's all harmless and predictable, by rom-com standards The Rewrite provides respectable lightweight entertainment.

The Binghampton locations provide an attractive cerebral and calming aesthetic, while the story demonstrates a genuine affection for teaching as a mutually fulfilling calling for teacher and students alike. In addition to Tomei and Janney, the strong supporting cast also includes J.K. Simmons as the school dean and Chris Elliott as a fellow professor and Shakespeare expert.

The Rewrite does not rewrite the history of romantic comedies, but does deliver a decent chapter.






All Ace Black Blog Movie Reviews are here.


Friday, 29 December 2017

Movie Review: Anger Management (2003)


A lukewarm comedy, Anger Management has half of a good idea and not enough creative talent to expand the concept into a film.

Emotionally scarred by the bullying he received as a child, Dave (Adam Sandler) is a meek man, taken advantage of by his boss and unwilling to display public affection towards his long-term girlfriend Linda (Marisa Tomei). Despite Dave's calm demeanour, an incident onboard a plane spirals out of control, Dave grabs a flight attendant by the arm and finds himself in court, sentenced to anger management classes.

His appointed therapist Dr. Buddy Rydell (Jack Nicholson), who happens to have been sitting next to Dave on that flight, has unconventional methods, and when Dave has another physical altercation with a blind man and a restaurant server resulting in a more severe sentence, Buddy takes full control of Dave's life. The therapist moves in with Dave and repeatedly pushes his buttons to try and snap him out of his docile passive-aggressive emotions.

Directed by Peter Segal, Anger Management is an attempted buddy comedy. That the career trajectories of Jack Nicholson and Adam Sandler would ever meet is astounding, but unfortunately the results veer much closer to Sandler's typical output: unrefined, silly, immature and underdeveloped.

Sandler himself is actually fine, playing a man keeping his emotions in check and too sequestered in his head for his own good. The problems with Anger Management reside in an exceptionally weak script by David S. Dorfman. The story never recovers from setting the therapist Rydell totally loose on Dave's life with ridiculously unprofessional conduct, including Rydell moving into Dave's apartment and straight into his bed. The narrative crosses the line from witty to lazy early and often, and never recovers.

Which is a pity, because the film does contain the germ of a decent comedy. In better hands and with intelligent development, the challenge of overcoming excessive passiveness to get on with life carries promise. Only flashes of what could have been interesting make it into Anger Management, mainly in scenes where Dave's emotional detachment land him in as much trouble as any actual release of anger.

But otherwise Sandler fans would be much the happier, particularly as Segal has no control over Nicholson. He surrenders to his worst tendencies of overacting and scenery chewing, effectively Nicholson playing Nicholson at the lowest common denominator. Tomei is wasted in a token role, and the rest of the cast includes John Turturro, January Jones and Krista Allen as Rydell's patients, and an uncredited Heather Graham in a single scene as Dave's seductive test.

Anger Management settles down expectantly on the therapist's couch, but receives incompetent treatment.






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Saturday, 25 February 2017

Movie Review: Parental Guidance (2012)


A family comedy, Parental Guidance offers healthy doses of playfulness and sentimentality as it explores generational shifts in attitudes towards parenting.

The aging Artie Decker (Billy Crystal) is fired from his job as sports commentator for a Fresno minor league baseball team for being behind the times on social media. Artie and his wife Diane (Bette Midler) are soon asked to babysit their grand kids in Atlanta for a week. Artie's daughter Alice (Marisa Tomei) and her husband Phil (Tom Everett Scott) are a busy modern day couple with three kids: daughter Harper (Bailee Madison) is a tightly wound over-achiever, middle son Turner suffers from a stutter, and the youngest son Barker has an imaginary kangaroo friend.

Artie and Diane have a distant relationship with Alice and her family, and Diane seizes on the babysitting opportunity to try and become a better grandparent. But Alice does not trust her parents, and for good reason: Artie bumble his way into disrupting the kids' routine and undoing Alice's careful parenting methods, as his more blunt and old fashioned values clash with more modern touchy-feely upbringing attitudes.

Directed by Andy Fickman, Parental Guidance aims for amiable and achieves it. The film stays well within a family-friendly domain, and allows Billy Crystal to do what he does best as a youngish grandpa providing caustic commentary on a world moving away from his level of comfort. The comedy is mild but constant, the emotions do creep towards mushy as everyone goes looking for a happy ending, but overall, the film squarely hits its intended if admittedly modest target.

Without breaking any new ground, Parental Guidance pokes away at some worthwhile themes. The clash between more strict, discipline-oriented parenting and the more modern values-based approach quickly comes to the fore, and the film wisely acknowledges imperfections in both philosophies. The story starts with Alice a continent and a lifetime away from her father, his methods clearly having been less than stellar in establishing a lifelong relationship. But Alice and Phil will also learn some lessons from Artie and Diane, with one week of grand parenting shock therapy sufficient to shake the kids loose from some coddled constraints.

Crystal, Midler and Tomei provide plenty of reliable adult talent, while the kids also deserve credit for achieving realism and avoiding excess cutesiness in favour of embracing the anxieties and pressures that come with growing up in a complex world.

Parental Guidance offers the one truth about parenting: everyone does it wrong, but with a sense of humour, that's alright.






All Ace Black Blog Movie Reviews are here.

Tuesday, 5 January 2016

Movie Review: The Big Short (2015)


A sharp and irreverent take on the 2007 housing market collapse that precipitated the Great Recession, The Big Short excels at transforming a dry subject into a gripping, character-based financial thriller.

The film focuses on the few independent-minded investors who foresaw the rot at the heart of mortgage backed securities and bet heavily that the banks, rating agencies and regulators did not know what they were doing. Michael Burry (Christian Bale) is a socially awkward investment fund manager. He digs deep into reams of data, and confirms his instinct that too many mortgages are high-risk. He practically invents shorting the housing market, and the banks are happy to take his money, confident that real estate can only ever go up.

Banker Jared Vennett (Ryan Gosling) hears about Burry's play and approaches Mark Baum (Steve Carell), a pessimistic, high-strung investment fund manager. Baum's research team uncover huge mortgages being approved to unqualified buyers, using teaser rates to simulate affordability and the promise of a remortgage against a higher house value. With the number of buyers dwindling and a high proportion of teaser rates expiring in 2007, Baum arrives at the same conclusion as Burry and bets big with Vennett that the mortgage market will collapse. He is further horrified when he realizes that bundled bad investments in the form of "collateralized debt obligations" (CDO) and secondary and tertiary "synthetic" CDOs are flooding the market, amplifying the risks to the economy.

Small-time young fund managers Charlie Geller (John Magaro) and Jamie Shipley (Finn Wittrock) stumble onto Vennett's findings and seek the help of Ben Rickert (Brad Pitt), a retired banker who quit the financial industry in disgust. The trio along with Vennett, Baum and his team converge on the annual mortgage securities forum in Las Vegas to meet the bankers bundling and selling mortgage backed securities and CDOs, trying to understand whether the industry is corrupt, stupid or both.

An adaptation of the Michael Lewis book directed by Adam McKay, The Big Short deploys a disarmingly light touch to makes a serious and complicated topic accessible. Characters regularly break the fourth wall to talk directly to the audience, while on three occasions the film is interrupted to allow celebrities like Margot Robbie (in a bathtub), Anthony Bourdain (in a fish kitchen) and Selena Gomez (at a blackjack table) to demystify the needlessly complicated jargon that Wall Street traders hide behind.

The end result is a quite ingenious semi-documentary. The Big Short is fast-paced, glitzy, funny, brash, flippant and derisive when it needs to be. This is not a story that has heroes and villains, just bankers blinded by greed and investors who spot an opportunity to profit from incompetence. It is also a story of how it takes outsiders to see what insiders cannot, and the strength of conviction required to swim against the masses.

The film particularly shines as a study of Burry and Baum, two dissimilar individuals who nevertheless share a healthy disrespect for what constitutes prevailing wisdom. The script by McKay and Charles Randolph sketches in a background for each, but it is left to excellent performances from Christian Bale and Steve Carell to bring to life the dangerously dogged determination that Burry and Baum both deploy to stick to their beliefs.

The contrasting styles to arrive at similar conclusions is fascinating. Burry is very much the loner, a numbers man, routinely isolating himself from the world to listen to thumping heavy metal music while fending off panicked investors threatening to either pull their money or sue him as the long awaited collapse is temporarily but agonizingly staved off by the increasingly desperate banks. Baum is acerbic, intrusive, a bull in a china shop and joins his team in on-the-ground research that includes interviewing over-leveraged strippers with multiple mortgages and brokers happy to sell expensive homes to poor immigrants who cannot understand what they are signing.

Gosling does a fine if relatively routine job as the slick banker and narrator Vennett, one of the few insiders who grabbed the opportunity to bet against his own industry. The stellar cast also includes Melissa Leo in one scene as a literally and figuratively near-blind securities rating agent, and Marisa Tomei as Baum's long-suffering wife.

Amidst the dizzying pace of a stock market on a head-long rush towards a cliff, McKay does also serve reminders of the human tragedy that is about to unfold. Rickert and Baum both have corners of their souls that are tortured by the true societal cost, measured in despair, poverty, unemployment and indeed unnecessary death, that is about to be unleashed by the housing market collapse.

But in a measure of pervasive greed trumping all, both men don't mind deriving enormous profits from the impending economic catastrophe. Rickert has signed off on a career as a banker but comes back to help enrich youngsters Geller and Shipley, while Baum perceives the crisis as his long awaited chance to stick it to a system he has always perceived as inherently corrupt.

Yes there will be millions of devastated innocent victims when the economy tanks, but true to the most fundamental principles of capitalism, somebody may as well profit.






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Saturday, 17 October 2015

Movie Review: The Ides Of March (2011)


An inside look at the United States political process, The Ides Of March delves into the ruthless backroom machinations that define election campaigns. The film is almost incredible, and also likely too close to the truth for comfort.

Governor of Pennsylvania Mike Morris (George Clooney) and Arkansas Senator Ted Pullman are locked in a tight race for the Democratic party presidential nomination. The next big milestone is the Ohio primary, and both campaign teams are going all out to win. Veteran Paul Zara (Philip Seymour Hoffman) runs Morris' campaign, assisted by the young, bright and idealistic Stephen Meyers (Ryan Gosling). Their opponent is Pullman's campaign manager Tom Duffy (Paul Giamatti). New York Time journalist Ida Horowicz (Marisa Tomei) is covering the nomination battle.

Stephen genuinely believes that Morris is a positive change agent who is capable of great achievements. His attention is momentarily distracted by attractive campaign intern Molly Stearns (Evan Rachel Wood). They seduce each other and start a steamy affair. Meanwhile, Paul is working overtime to try and secure the critical endorsement of influential North Carolina Senator Franklin Thompson (Jeffrey Wright). Considered a king-maker, Thompson is negotiating with both campaigns, effectively selling his support to the candidate who offers him the most attractive White House position. All appears to be going well for Stephen, until he receives a phone call from Duffy, who wants Stephen to defect to the Pullman campaign. A rapid series of cascading events then throws the nomination race into turmoil, threatening to end Stephen's promising career.

Directed and co-written by Clooney as an adaptation of the play Farragut North by Beau Willimon, The Ides Of March exposes a two-faced political system that presents a fake public profile while running on a cut-throat culture of deceit, back-stabbing and betrayal. That politics is a blood sport is not new; that the participants engage with a deadpan matter-of-factness while twisting the knife is never less than disturbing.

The events portrayed are only loosely based on fact, but while too much drama is packed into a few days of campaigning, the individual misdoings all ring true as actual headlines from real political wars. Clooney moves the talk-fest along swiftly, allowing each event to shine brightly but ever so briefly in the glare of the 24/7 news cycle: there is always the next outrage waiting to feed tomorrow's talking heads.

Appropriately, the candidates are the articulate faces of their respective campaigns, but very much secondary characters in the overall context. The strategy, policy, negotiations and message control are the domain of men like Paul, Stephen and Tom. They are the backroom operatives who prefer to stay in the dark, spinning stories to reporters but manipulating events from behind the curtain. The film is a compelling chronicle of a battle of wills, and Clooney constructs it with zest, focusing on soul-destroying compromises driven by the rampant ambition to win at all costs.

A dream cast contributes greatly to the film's appeal, with Philip Seymour Hoffman and Paul Giamatti biting into their roles with glee, allowing Ryan Gosling to adopt the more cerebral and circumspect approach. Stephen is at the centre of the film, and Gosling treats the role as a story of awakening. Stephen transforms from idealistic bright young assistant campaign manager to a veteran of the political wars, a journey that will require him to taste bitter disappointment and discover just how far he will personally go to safeguard his dreams.

Evan Rachel Wood radiates an outer innocence and inner self-indulgence, always hinting that Molly wants to play in a league that may just be too tough for her. Marisa Tomei suffers somewhat from a vaguely underwritten role as the clinical reporter Ida.

Of course by the time Stephen emerges at the other end of the Ohio primary, his idealistic dream is a nightmare of corruption, his path to success littered with victims. But in the high stakes world of politics, the prize comes with the reward of enormous power, justifying all necessary means.






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Sunday, 4 October 2015

Movie review: What Women Want (2000)


A romantic comedy with a supernatural spin, What Women Want enjoys impressive star power but rides roughshod over its clever premise and fumbles the search for an attractive tone.

Advertising executive Nick Marshall (Mel Gibson) is a magnet for the ladies but treats them with dismissive disdain. Divorced from Gigi (Lauren Holly) and an absentee dad to his 15 year old daughter Alex (Ashley Johnson), Nick is shocked when he is passed over for a promotion. Instead, his boss Dan Wanamaker (Alan Alda) hires Darcy McGuire (Helen Hunt) to lead the creative team, in an attempt to reorient the firm's ad campaigns to better appeal to women.

While trying on women's products to get in touch with his feminine side, Nick suffers an electrocution accident, and gains the supernatural ability to hear the inner thoughts of women. After first panicking and visiting therapist Dr. Perkins (an uncredited Bette Midler), Nick starts to use his new powers to advance his career. He gains inspiration from the hidden thoughts and feelings of women around him, and starts to steal Darcy's ideas to enhance his credentials on women-oriented campaigns. But Nick and Darcy also start to fall in love, complicating his attempts to undermine her performance.

What Women Want playfully tackles the age-old topic of men wishing they could better understand women. The premise has plenty of potential, and the film enjoys moments of good humour, befuddlement and personal awakening as Nick hears the inner thoughts of new boss Darcy, daughter Alex, barista Lola (Marisa Tomei) and office girl Erin (Judy Greer).

But director Nancy Meyers frequently bludgeons the film towards the ridiculous, encouraging Gibson to overact to distraction. Whenever there is a choice between subtle and stupid, Meyers chooses the low road, aiming for the broad laugh and glaring emotion when a more astute direction was available. The film hurtles towards the obvious, and in its rush misses opportunities to delve into gender issues with sensitivity. Thanks to a tonally challenged script, the workplace tensions between Nick and Darcy don't work as planned. What is intended to be competitive comes across as collaborative, undermining the latter part of the film's dynamic. With the romance between Nick and Darcy also difficult to digest, the better moments are in the subplots with Alex and Erin.

Nick's powers allow him to try and bridge the generational divide with his daughter, and several moments in the father-daughter journey bravely delve into awkward territory. Even more promising, but less developed, is Nick suddenly becoming aware of Erin's depressed state as an effectively invisible woman shuffling files within the office, wondering whether anywhere cares if she is even alive. Through Erin's story the film hints at important issues related to gender gaps and power dynamics in the workplace, and with more courage, Meyers could have better explored this territory.

Much less successful is the subplot involving Lola the frustrated barista, which is introduced, developed and then truncated with heavy-handed clumsiness, Marisa Tomei emerging as the film's main casualty.

With Frank Sinatra classics dominating the soundtrack and adding to the triple-underline attitude of the film, What Women Want places the delivery burden on Gibson and Hunt to bring the film home. The two attractive stars make the most of the material but are only rarely able to steer in thought-provoking directions. What Women Want poses good questions, but provides answers that are more frivolous fun and less fascinating flavour.






All Ace Black Blog Movie Reviews are here.