Genre: Satirical Dark Comedy
Sunday, 15 June 2025
Movie Review: Mountainhead (2025)
Genre: Satirical Dark Comedy
Thursday, 13 July 2023
Movie Review: Last Flag Flying (2017)

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Tuesday, 6 July 2021
Movie Review: The Way Way Back (2013)
Duncan (Liam James) is a quiet 14 year old, suffering through the getting-to-know-you phase with Trent (Steve Carell), the oily new boyfriend of his mother Pam (Toni Colette). Trent's older teenaged daughter Steph (Zoe Levin) is happy to ignore Duncan. The quartet head to Trent's summer vacation home near Cape Cod, where they meet vivacious neighbour Betty (Allison Janney) and her teenaged daughter Susanna (AnnaSophia Robb).
Trent and Pam start spending long hours with Trent's friends Kip and Joan (Rob Corddry and Amanda Peet), who own a pleasure boat. Left on his own and feeling like a complete misfit, Duncan wanders towards the cheesy Water Wizz water park where he meets carefree manager Owen (Sam Rockwell) and his co-worker/maybe girlfriend Caitlin (Maya Rudolph). Duncan's summer adventures start to improve when Owen takes him under his wing and Susanna attempts a friendship, but Trent's nauseating smarminess is never far away.
Co-written and co-directed by Nat Faxon and Jim Rash in their debut, The Way Way Back is a tender poke at that one memorable growing-up summer when misery, company and emotional growth collide. While the themes, incidents and overall mood of awkward bemusement bordering on despair are not necessarily new, Faxon and Rash mush enough cringey and hopeful moments together to build well-rounded characters.
Duncan is a mostly silent adolescent caught in the treacherously funny terrain between kid and adult, with that inherent perceptive child's ability to see right through Trent's facade and into his rotten core. That mom Pam is not ready to acknowledge her new boyfriend is a scumbag only makes Duncan more miserable, along with the indignity of being the only person having to wear a flotation device on the boat.But a summer of long days also offers unexpected opportunities for positive encounters. Owen is a man jealously safeguarding his inner teenager's attitude towards life, and recognizes that Duncan just needs a nudge of belief and surrogate fatherhood to break out of his shell. Meanwhile Susanna is attempting to avoid getting blown away by the hurricane generated by her mom Betty, and sees Duncan as a calm harbour worth exploring.
Faxon and Rash create a modest middle class beachside community teetering between fading small town charm and suburban dullness, a place where every family is broken, breaking, or patched-up, and the dilapidating water park still attracts a crowd although the beach is minutes away. In this milieu Sam Rockwell is the standout performer, having a blast as a caring man perfecting the couldn't-care-less schtick. Liam James speaks volumes with pained expressions of emotional torture and few words. Steve Carell oozes barely disguised toxins, while Allison Janney allows easily excitable neighbour Betty to take flight.
The Way Way Back zooms through the twists and turns of water park tubes, dark places to navigate on the way to a bright new splash.
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Sunday, 23 February 2020
Movie Review: Anchorman: The Legend Of Ron Burgundy (2004)
A satire of television newsrooms in a male-dominated era, Anchorman: The Legend Of Ron Burgundy features more comic misses than hits and falls victim to the culture it attempts to skewer.
It's the 1970s in San Diego, and Ron Burgundy (Will Ferrell) is the leading news anchorman in town. Unintelligent but possessing self-proclaimed excellent hair and therefore full of himself, he leads an entourage consisting of sportscaster "Champ" (David Koechner), field reporter Brian Fantana (Paul Rudd) and imbecilic weatherman Brick Tamland (Steve Carell).
Their reign of toxic masculinity using the workplace as hunting grounds for women is threatened when station manager Ed (Fred Willard) hires ambitious news reporter Veronica Corningstone (Christina Applegate) in the name of improving diversity. Ron and his buddies immediately make gauche moves to seduce and belittle Veronica intending to stop her career before it starts, but she proves a tough opponent.
Featuring plenty of improvisation and no shortage of vulgarity, Anchorman showers the screen with coarse humour. With a cast also including Vince Vaughn, Ben Stiller, Jack Black and Seth Rogen in minor roles, the talent surplus is not matched by sharp wit. The comedy is often at the throw-the-dog-off-the-bridge slapstick level, compounded by plenty of outright yelling and wailing.
The ultra male shenanigans step well over the stupid border, and while a few moments of humour survive and a couple of lines land, the film remains mired in a clueless celebration of body parts and imbecility.
The counterbalance is provided by Christina Applegate's steady role as Veronica Corningstone, and she emerges as the best thing in the movie, working hard for future generations to truncate the man in Anchorman. The film is not smart enough and too invested in Burgundy to properly leverage Corningstone's strengths, but expanding her perspective would have dramatically enhanced the otherwise flimsy narrative.
The more positive notes include a delightful non-sequitur gang rumble scene and Steve Carell's deadpan interventions. Director Adam McKay does create a wonderfully ridiculous visual feast awash in loud 1970s clothes, absurd hair and the decade's sickly colours (brown and orange everywhere), although a lack of ambition prevents a meaningful extension of the aesthetic to the outdoors.
A mostly tedious exercise in attempted hilarity, Anchorman is too smug and self-satisfied with guys believing the legend in the mirror.
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Monday, 2 December 2019
Movie Review: Café Society (2016)
A romance with mild humour, Café Society finds writer and director Woody Allen exploring familiar love entanglement themes with a light touch.
It's the 1930s, and Phil Stern (Steve Carell) is a slick and successful Hollywood talent agent. His awkward nephew Bobby Dorfman (Jesse Eisenberg) arrives from New York City seeking adventure and a potential career. Phil eventually gives Bobby a job and introduces him to his assistant Veronica (Kristen Stewart). Bobby is immediately smitten, although Veronica discloses she already has a boyfriend she calls Doug.
Back in New York City, Bobby's brother Ben (Corey Stoll) is rising up the ranks of mobsterism and buys into a swish nightclub, while sister Evelyn (Sari Lennick) is married to the intellectual Leonard (Stephen Kunken) and dealing with a boorish neighbour. In Hollywood Bobby befriends married couple Rad and Steve (Parker Posey and Paul Schneider) and continues his pursuit of Veronica, unaware that "Doug" is really Uncle Phil, who keeps on promising Veronica he will leave his wife.
Romance between an older married man and the younger woman, a years-long mutual infatuation that must remain out of reach, and emotionally insecure and hopelessly in love men making and breaking commitments. Woody Allen's favourite themes all make an appearance in Café Society, a film as much about mood and place as it is about plot.
With loving care Allen recreates the sparkly upper echelons of 1930s Hollywood as a swirl around powerful agent Phil Stern, a man on a first name basis with anyone who matters, with a deal in the making and snippets of conversation ready for every person in the room. For both contrast and comparison, back in New York Allen tracks the rise of Ben Dorfman along the mob's career ladder, with short and sharp acts of violence (played for laughs) clearing his path towards managing a glitzy nightclub. From their kitchen parents Rose and Marty Dorfman (Jeannie Berlin and Ken Stott) worry and bicker about the progress of both their sons.
While the material is warmly recognizable as Allen operating well within his comfort zone, it is all too safe. Precious little about Café Society is fresh or demanding, as the film meanders its way towards indecisive lovers settling for selfish choices that best fit both Hollywood's dream factory and New York's grittier scene. The writing is sometimes clever but also often too eager to over-reach for the profound zinger. Allen's directing is confidently laidback, allowing the actors' motions to occupy the patient cameras. His uncredited narration is quite unnecessary.
At 33 years old Jesse Eisenberg can still just about pull off his young-man-opening-his-eyes-to-the-world schtick, but at least here he gets to grow with the role as Bobby evolves into a self-assured family and business man. Carell has a lesser arc as Phil Stern, a man confident about everything except the value of his long-lasting marriage. Kristen Stewart is fine as the naturally seductive muse to both Eisenberg as protégé and Carell as mentor, and she emerges as the convincing focal point for both men. Blake Lively appears relatively late as another Veronica in Bobby's life.
Resisting the urge to tackle any new and thorny challenges, Café Society settles for easy on the eyes and intellectually cozy.
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Thursday, 15 November 2018
Movie Review: Beautiful Boy (2018)
A biographical drama, Beautiful Boy descends into the abyss of damage caused by drug addiction.
Writer David Sheff (Steve Carell) is investigating crystal meth, because his teenaged son Nic (Timothée Chalamet) is hopelessly addicted. In flashbacks, their history is revealed. David divorced Nic's mother Vicki (Amy Ryan) and remarried Karen (Maura Tierney), and as a young kid Nic was shuttled back and forth between parents. He also felt he never measured up to his father's expectations, despite David's attempts to be a loving and supportive parent.
Nevertheless Nic was a star student, a budding writer and had his pick of colleges, but his drug use starting with marijuana and graduating to harder drugs rendered him aimless. A stint in rehab did not help and was followed by an attempt at college life that only exposed Nic to more drug use. Vicki tries her hand at helping her son, and for a while his prospects improve but more trouble lies ahead for the exasperated father and damaged son.
Based on a true story, Beautiful Boy is directed by Felix Van Groeningen and adapted from the two books by David and Nic Sheff. The film is an unyielding journey into the agony of addiction, and while there is plenty of genuine and heart-warming affection on display between father and son, the overall mood is one of despair. Controlled by the iron grip of drugs, Nic pushes ever harder into self-destructive behaviour and David runs out of options on how to help, creating a bleak emotional trajectory.
Despite all the grief and desperation, the film remains non-judgemental in tone, recounting a family's trauma without lecturing. Nic's bad decisions receive a light touch and he is otherwise portrayed as a victim. David is never less than well meaning, his flashes of rage generated by frustration and disappointment, mostly directed at himself for being unable to come up with answers and solutions to his son's nightmare.
The film demands strong navigators through all the darkness, and the two lead performances deliver. Steve Carell is the entry point into the world of anguished parenthood, and he conveys the range of reactions from anger to despondency, passing through a willingness to try almost anything to help. Timothée Chalamet is heartbreaking as the teenager at the mercy of a brain craving ever higher doses of crystal meth, the interludes of normalcy adding poignancy to his next chapter of surrender to substance abuse.
The film is overlong at 120 minutes, and Nic's repetitive ups and downs threaten to meld into each other. As well, large parts Beautiful Boy unfold in flashback, and Van Groeningen overplays his hand in assembling the film's structure. Many stretches have successive scenes that jump all over the timeline from the present to various points in the past, as if intent on undermining cohesion and shaking off sustained interest.
Despite the choppiness, the strength of the material is undeniable. Beautiful Boy registers a forceful impact through a candid portrayal of a once promising life wasting away.
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Saturday, 22 September 2018
Movie Review: Evan Almighty (2007)
A family-oriented comedy, Evan Almighty scores some laughs but spends too much time in a CGI-generated animal kingdom.
News anchor Evan Baxter (Steve Carell) from Buffalo, New York, is elected to Congress on a campaign promise to "Change the World". Along with his wife Joan (Lauren Graham) and their three boys, he relocates to a massive house in a new Washington DC suburban subdivision. Baxter is quickly wooed by veteran Congressman Chuck Long (John Goodman), who is sponsoring a bill that would endanger parkland.
After mysterious crates of building equipment start appearing at his doorstep, Evan is visited by God (Morgan Freeman), who instructs him to build an Ark in preparation for an impending flood. Evan does his best to ignore God's command, but is soon trailed by a huge number of animals, all in pairs. With his political career already endangered and his family believing he is going through a severe midlife crisis, Evan faces a major dilemma.
A sequel to Bruce Almighty and again directed by Tom Shadyac, Evan Almighty takes a firm turn towards fluffy family values territory and leaves behind the edgier material probed in the original. Compared to the frantic Jim Carrey, Steve Carell's more subdued brand of comedy is put to good use, although the bland build-an-Ark plot gets quickly tiresome.
The film places plenty of trust in the special effects team, and they do deliver an eye-popping number of critters on the loose in Washington DC and the Virginia suburb where the Baxters take up residence. The climax is another special effects extravaganza featuring a flood of sorts. And throughout, Evan is subjected to a humorous and uncontrollable physical transformation into a Noah-type avatar, complete with beard and robes.
The green screen emphasis means the plot did not receive too much attention, Shadyac and his screenwriter Steve Oedekerk probably hoping nobody would notice the almost utter irrelevance of the whole animal subplot when everything was said and done. The villainous plot of Congressman Long on which the entire movie rests is barely explained.
Evan Almighty delivers a regular stream of chuckles, but mostly of the superficially cuddly and forgettable variety.
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Sunday, 8 October 2017
Movie Review: Battle Of The Sexes (2017)
A biography of tennis legend Billie Jean King around the time of her famous showdown with Bobby Riggs, Battle Of The Sexes reveals the tumult behind the headlines but doesn't quite achieve the intended emotional heights.
It's 1973, and 29 year old Billie Jean King (Emma Stone) is on top of the tennis world. When tournament organizer Jack Kramer (Bill Pullman) refuses to close the gender pay gap, King leads a renegade group of players in the establishment of the Women's Tennis Association, with her friend Gladys (Sarah Silverman) as manager. Although married to Larry (Austin Stowell), King meets and starts a secret lesbian affair with hairdresser Marilyn (Andrea Riseborough).
Meanwhile, former tennis champ Bobby Riggs (Steve Carell) is now 55 years old, a compulsive (but successful) gambler much to the disdain of his wife Priscilla (Elisabeth Shue). He is also a self-professed male chauvinist pig. Sensing an opportunity to make money and reclaim the spotlight, Riggs tries to goad King into a publicity-grabbing "battle of the sexes" televized tennis match. She refuses, but Riggs does find an opponent in Margaret Court (Jessica McNamee). The outcome of that game forces King into accepting Riggs' challenge, although her private life is in turmoil.
Directed by the duo of Jonathan Dayton and Valerie Faris, Battle Of The Sexes takes on plenty of weighty topics. The early 1970s witnessed the confluence of turbulent currents that had been building up over a decade, and finally feminism, sexuality, money, broadcasting and politics started to fully come together.
The specific tennis match between Bobby Riggs and Billie Jean King was just that: a one-off, made-for-television stunt event, but it also carried the winds of change: if the reigning queen of women's tennis, carrying the torch of pay equity, could not defeat a loudmouth overweight over-the-hill sexist man in his mid-50s, the cultural setbacks would have propagated far from the tennis court.
Dayton and Faris, working from a script by Simon Beaufoy, are workmanlike in capturing the events of the times, but the central character's spirit eludes them. The film largely focuses on King as she helps form the WTA, meets Marilyn and awakens to her sexuality. Despite a focused Emma Stone performance, King's energy and societal drivers are notably missing. The film meets her at the peak, a woman demanding change while grappling with fundamental personal changes. How and why King got here are absent, an unfortunate gap in a biographical film.
Riggs is very much a supporting character, a caricature battling his middle-age demons and refusing to grow up because his wealth means he does not have to. The rest of the characters are fleeting. Marilyn remains an ethereal partner, more a muse than a person. Riggs' wife Priscilla and WTA organizer Gladys drop in and mostly out of the story.
The match itself forms the climax of the film, and is well presented as an inflated media circus, King cutting a lonely figure as she singularly enters a noisy arena in a world tilted against women's equality. Her on-the-court public showdown contrasts well with her private life, King compelled to keep her relationship with Marilyn a secret despite the whispers, the battle to come for gay rights already visible, but for now still ahead.
Battle Of The Sexes is a good serve, but misses the ace.
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Saturday, 27 August 2016
Movie Review: Little Miss Sunshine (2006)
A road trip comedy, Little Miss Sunshine offers up a contemporary family dealing with a unique brand of turmoil. Both funny and poignant, the film succeeds by staying close to reality and true to its message.
The Albuquerque family of Richard and Sheryl Hoover is in disarray. Richard (Greg Kinnear) is a fledgling motivational speaker trying to secure a book deal for a hokey 9-step self improvement program. The frazzled Sheryl (Toni Collette), struggling to keep the family functional, picks up her brother Frank (Steve Carrell) from the hospital after he tried to kill himself over after a failed relationship. Frank is a homosexual professor of literature and an expert on the French author Proust.
Sheryl: I'm so glad you're still here.
Frank: Well, that makes one of us.
The Hoover's teenaged son Dwayne (Paul Dano) is severely antisocial, reads Nietzche, and has taken a vow of silence until he achieves his dream of entering flight school. Seven year old and slightly portly daughter Olive (Abigail Breslin) is thrilled to learn that she has qualified to enter the Little Miss Sunshine child beauty pageant, but this means that the family will have to travel to Redondo Beach, California. Richard's dad Edwin (Alan Arkin) lives with the Hoovers after having been kicked out of a retirement home. He is a curmudgeonly, foul-mouthed and disruptive presence, but is helping Olive prepare her routine for the pageant's skills competition. Edwin also dabbles in heroin.
Grandpa (Edwin): Every night it's the fucking chicken! Holy God Almighty! Is it possible, just once, we could get something to eat for dinner around here that's not the goddamned fucking chicken?
The family piles into their VW Van and embarks on the 800 mile road trip to California. Along the way not much will go according to plan: car trouble will slow down their progress; grandpa Edwin will encounter a significant mishap; Richard will finally receive news about his book deal, necessitating a quick detour to Scottsdale; the surly Dwayne will discover an unwelcome truth; and Frank will have to survive an awkward encounter with old acquaintances. As Olive's pageant draws closer, the family dynamics undergo dramatic changes.
[after being persuaded to go on the trip, Dwayne writes]
Frank: [reading Dwayne's writing] "Ok, but I'm not going to have any fun." Yeah, well, we're all with you on that one, Dwayne.
An independent film written by Michael Arndt and directed by the husband and wife team of Jonathan Dayton and Valerie Faris, Little Miss Sunshine is the little film that could. With a brilliant cast, well-defined characters and no shortage of funny moments, the road trip where everything can go wrong becomes a journey about a family rewiring all its connections. Filled with moments of delicious awkwardness and character-driven humour, the film achieves and sustains an irresistible tone of irreverent merriment.
The film is a compact 101 minutes, and Dayton and Faris nail the pacing. The film never descends into farce, nor does it ever get bogged down in the many familial dramas. The balance is perfect, the comedy and drama working together, the frustrations mounting as the laughs accelerate.
Dwayne [writes] Please don't kill yourself tonight.
Frank: Not on your watch; I wouldn't do that to you.
Dwayne [writes] Welcome to Hell.
Frank: Thank you, Dwayne. Coming from you, that means a lot. Goodnight.
The theme throbbing at the heart of the film is about the strength of family ties, where problem issues can be extremely annoying but also superficial, and real strength resides in pushing together in the same direction. The VW van conspires to remind the Hoovers of the value of teamwork by losing its clutch early and necessitating a push start after every stop, the image of individuals forced to push together becoming the enduring image of the road trip. Later Richard and Dwayne will encounter severe disappointments while Edwin's unique misadventure threatens to derail the entire trip. The light and innocent touch of Olive becomes the most tender of unifying causes and a reason to believe in a better tomorrow.
None of the turmoil is lost on Frank, who serves as a recovering observer. Now he gets a front seat (or middle seat) to a family swimming in chaos, but also learning to stick together and not give up despite setbacks. Frank evolves from morose to a supportive role as he discovers that even he can provide caring at crucial moments.
Dwayne: I wish I could just sleep until I was eighteen and skip all of this, high school, everything.
Frank: Do you know who Marcel Proust is?
Dwayne: He's the guy you teach.
Frank: Yeah. French writer. Total loser. Never had a real job. Unrequited love affairs. Gay. Spent 20 years writing a book almost no one reads. But he's also probably the greatest writer since Shakespeare. Anyway, he, uh, he gets down to the end of his life, and he looks back and decides that all those years he suffered, those were the best years of his life, 'cause they made him who he was. All those years he was happy? You know, total waste. Didn't learn a thing. So, if you sleep until you're 18-- ah, think of the suffering you're gonna miss. I mean high school? High school-- those are your prime suffering years. You don't get better suffering than that.
The family comes to terms that unique individuals make the whole richer, a lesson that hits home at the pageant. We have to let Olive be Olive is Sheryl's rallying call, and the young girl goes on to unintentionally outdo all the hypocrisy on display, her family right behind her on the imperfect stage of life.
Police Officer Martinez: Okay, you're out. On the condition that you never enter your daughter in a beauty pageant in the state of California, ever again... ever.
Frank: I think we can live with that.
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Monday, 18 July 2016
Movie Review: Foxcatcher (2014)
A somber drama about wrestling and egomania, Foxcatcher is a quietly powerful examination of human relationships. The story of one rich man's need to be admired on his own terms is unsettling in its normalcy, and the film enjoys three excellent central performances.
It's 1987, and brothers Mark and Dave Schultz (Channing Tatum and Mark Ruffalo), both Olympic wrestling gold medalists, are training for the upcoming world championships and the 1988 Seoul Olympics. Having endured a difficult upbringing in a broken household, the brothers have a tight relationship, with the older Dave acting as a mentor and inspiration to the younger, moodier Mark. Dave is now settled and raising a family with wife Nancy (Sienna Miller); Mark remains a loner.
Out of the blue, Mark is contacted by billionaire John E. du Pont (Steve Carell), who offers an annual salary and training facilities as part of Team Foxcatcher at his expansive estate in Pennsylvania. John is single and living under the shadow of his mother Jean (Vanessa Redgrave). He claims to be a patriot and wrestling fan, and imagines himself as a coach and a mentor, wanting to nurture and celebrate America's heroes. Mark accepts the offer and relocates to the du Pont estate for training with other wrestlers. Dave initially refuses a similar offer, not wanting to disrupt his family. With continued success in the wrestling ring, a bond develops between John and Mark, but gradually John's increasingly bizarre behaviour begins to cause tension between the brothers.
Directed by Bennett Miller and based on real events, Foxcatcher is a disconcerting story about the insidious forces that lurk within a damaged psyche. Filled with pregnant pauses, quiet moments and awkward interactions, the film burrows into the soul of three men and finds plenty of opportunities for victimization. Foxcatcher never shouts its intentions; Miller allows the characters to speak for themselves through often subdued actions, and creates remarkable heights of drama from nothing but stares and silence.
The triangular relationship between the two wrestlers and the billionaire heir is at the centre of the film. John du Pont is severely damaged, but his scars are not on the surface. A man who owns everything but is yet exceedingly needy, his faults emerge gradually like an invisible vaporous poison seeping slowly and infecting his surroundings. Once Mark understands that John is not a well man, he is in too deep, entangled in a soul-destroying relationship. Dave is more settled, more secure and therefore more able to resist John's money and superficial pablum about patriotism. But driven at least partially by the need to help his brother, even Dave is not fully immune and he is also sucked into John's orbit.
The men are individually fascinating. Drawn together, they create a new, volatile dynamic, their co-dependencies built on an unstable mixture of deep family bonds, exceptionally easy money and unpredictable narcissism.
Miller demonstrates noteworthy control over the material and uses an economy of words and scenes to build complexity. The causes of John's character issues are dealt with in a few effective strokes featuring his mother and the family background. One devastating sequence has John pathetically trying to convince himself and the unimpressed, wheelchair-constrained Jean that he is indeed a coach. In another exceedingly uncomfortable interlude, John celebrates with the wrestlers by clumsily attempting to joke-wrestle with them, the privileged loner trying in vain to be one of the guys.
Foxcatcher needed three exceptional performances to thrive, and Steve Carell, Mark Ruffalo and Channing Tatum deliver. Carell is a revelation, leaving far behind his comic persona and finding a dangerous place for John, where reality slowly detaches and drifts away from a seemingly normal mind. Ruffalo and Tatum create a winning pair of brothers, their relationship filled with a mosaic of tension, mutual admiration and layered dependencies.
Foxcatcher is a unique and captivating achievement, a stunning and unforgettable story told with muted authority.
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Sunday, 17 January 2016
Movie Review: Dan In Real Life (2007)
A mild romantic comedy, Dan In Real Life has a cute premise but weak follow-through.
In New Jersey, Dan Burns (Steve Carell) writes a newspaper relationship advice column. A widower, he is overprotective and struggling to raise three daughters on his own as they go through puberty and puppy love issues. In a despondent mood, Dan drives with his daughters to Rhode Island for a long weekend family reunion at the beach front home of his parents (John Mahoney and Dianne Wiest). Also in attendance are Dan's siblings and their families, including his brother Mitch (Dane Cook), a hunky bachelor and fitness trainer.
Dan meets the attractive Marie (Juliette Binoche) at the local bookstore, and they immediately sense an attraction. They chat over coffee and she snaps him out of his moodiness. They part on a promise to meet again although she does tell him that she is just starting a new relationship. Back at the beach house, Dan is shocked to re-encounter Marie, who has arrived at the family reunion as Mitch's new girlfriend. They keep their bookstore encounter a secret. As the weekend progresses Mitch and Marie fawn all over each other as the rest of the family falls in love with the vivacious, worldly and clever Marie, while Dan is pushed to extremes of jealousy and childish behaviour.
Directed by Peter Hedges, Dan In Real Life has a single idea to work with, and doesn't do much with it. The film hinges on Dan and Marie first deeply connecting with each other after a single encounter, and then keeping their sudden attachment a secret from the sprawling family. This is all established within the first 30 minutes, and for the next hour Hedges (who also co-wrote the script) wanders around the beach house looking for opportunities for Dan to act childish.
This not only gets tiresome quickly, but also undermines the film's premise. Dan's pouty behaviour is only rarely funny and generally makes him exceptionally unattractive, and a smart woman like Marie should have recognized his emotionally immaturity and cast him adrift instead of stringing him along. But then Marie's purported intelligence is already undermined by her attachment to the hunky but relatively dull Mitch, further eroding the movie's rationality.
The film attempts to win cheap sentimental points late on by throwing in sappy moments related to Dan's deceased wife and his relationship with his girls, but by then the infatuation triangle between Dan, Marie and Mitch has unravelled beyond salvation.
A talented cast is merely adequate. Carell does show an aptitude for the more subdued side of the comedy spectrum, but too often sleepwalks through the film with a single passive aggressive stance of simmering jealousy. Binoche is perky but borderline annoying. The rest of the family members are almost interchangeable and lack definition. Emily Blunt shows up in a couple of scenes as a bubbly childhood friend of Dan's, and a potential pawn in the spite battles. Amy Ryan has a minor role as Dan's sister-in-law.
Dan In Real Life arrives at the vacation house with good intentions to have a fun time, but is caught at the beach all wet and without a towel.
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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.
All Ace Black Blog Movie Reviews are here.
Tuesday, 14 July 2015
Movie Review: Seeking A Friend For The End Of The World (2012)
A romance-comedy set against an upcoming end-of-the-world scenario, Seeking A Friend For The End Of The World is wistful masterpiece, an exceptionally fresh take on an old genre. The flickering connection between two neighbours falling in love as the planet faces extinction touches the collective human soul.
A large asteroid is on a collision path with Earth, nothing can avert the tragedy and impact is expected in three weeks. The planet will be destroyed. Insurance salesman Dodge (Steve Carell) has been abandoned by his wife, but tries to maintain a semblance of normalcy by actually showing up for work. Remarkably, some customers are still calling him. Dodge is introverted, refuses to partake in the debauchery that adults are now engaging in, and deeply regrets giving up on Olivia, the high school love of his life.
His next door neighbour is Penny (Keira Knightley), who is involved in a disintegrating relationship with boyfriend Owen (Adam Brody). Penny is lively, disorganized, can sleep through anything, and is desperate to reconnect with her parents. When riots and looting break out Dodge and Penny flee the neighbourhood together, along with Sorry, an abandoned dog. Penny promises to help Dodge find Olivia, and with all commercial flights grounded he promises to help her find a plane that can fly her to her parents. Along the way they meet Glenn (William Petersen), who has prepared for the end in his own way, and they share a meal at a restaurant that is now serving a lot more than just food.
As Penny and Dodge fall in love they cross paths with a small-town police officer still fulfilling his duties, and visit Penny's old boyfriend Speck (Derek Luke), who fully intends to survive the apocalypse. As the moment of impact draws near, Penny and Dodge confront the sum total of their lives and are forced to reassess their priorities.
Directed and written by Lorene Scafaria, Seeking A Friend For The End Of The World is a marvelous achievement. By setting a romance against the ticking clock to end all ticking clocks, Scafaria instills doomsday comedy and plenty of raw fervor. The result is a film that soars into the passion of what it means to unexpectedly fall in love, with the world figuratively and literally falling to pieces.
The central romance is a poignant affair, both Dodge and Penny desperate in their own way to salvage something in the few remaining days on earth. Dodge is downbeat, abandoned and pretty sure that his life has been a total loss. The promise of finding the elusive Olivia provides him with a final spark to pursue. Penny is practical but also frantic, not as much dwelling on the impending end as regretting that her ditziness may have cost her the last chance to say goodbye to her parents. Together they make for an indelible couple embarking on a happily haphazard road trip.
Seeking A Friend does not just exploit its premise as a cheap plot device. In the background of the unfolding romance, Scafaria covers the gamut of how society is likely to react to the end of the world. Some people commit suicide. Others hire assassins to do the dirty deed. Some corporate workers still show up at work, as does Dodge's housekeeper Elsa. Looters take over the streets, but only in some neighbourhoods; other remain untouched. Dodge's friends throw drug-fueled orgies where children are exposed to all the sins of the adults. A neighbourhood restaurant redefines the standards of friendly service. Speck and his buddies hunker down with guns, ammo, pop and chips, fully intending to survive and repopulate earth. Rarely has a romance offered such an immersive backdrop.
Steve Carell and Keira Knightley together deliver some of their best screen work. Carell is excellent as a man resigned to quietly withdrawing from life, and then allows Dodge to ever so gradually come out of his shell under Penny's influence. Knightley is even better, creating in Penny a woman in love with a hectic life and happy to run with it right to the end. Martin Sheen appears late in a pivotal role that packs a sentimental punch.
The film enjoys several stunningly memorable scenes. At Speck's bunker, Penny uses a satellite phone to call her parents. In one of Knightley's career highlights, she is devastatingly heartbreaking talking to a parent that she will likely never see again. Another overwhelming scene has Penny and Dodge stumbling onto a peaceful group of people deciding to calmly wait out the end of the world by enjoying each other's company at a small beach. In stark contrast to the depravity, riots, looting and suicides witnessed earlier, this collection of parents and children just celebrate what they have had and await the end in contentment.
And as the moment of impact finally arrives, Scafaria finds the meaning of life in two people connecting, side by side, finding the only closeness that matters at the time when it matters most. One of the best films of 2012, Seeking A Friend For The End Of The World shines brightest at the most bittersweet end, when love's eternality is most apparent.
All Ace Black Blog Movie Reviews are here.
Monday, 20 April 2015
Movie Review: Bewitched (2005)
A stale attempt to revive a brand from a bygone era, Bewitched makes a feeble effort to uncover new ideas, and finds none.
Jack Wyatt (Will Ferrell) is an egotistical movie star going through a bad patch. In an attempt to revive his career he agrees to star as the husband Darrin in a revival of the classic 1960s television sitcom Bewitched. He sets out to find an actress to play the key role of Samantha, the cute housewife witch. Isabel Bigelow (Nicole Kidman) is a real witch tired of using her bag of tricks to get through life. Despite the protests of her father Nigel (Michael Caine) she wants to be normal, find a career, a man, and settle down. Jack bumps into Isabel at a bookstore. Not knowing that she is a witch he convinces her to audition, and she handily wins the role of Samantha.
With veteran actress Iris Smythson (Shirley MacLaine) cast in the role of Samantha's mom Endora, Jack conceives of the show as being all about him, and contrives to barely give Samantha any speaking roles. Test ratings are miserable, but the audience reacts well to Isabel, and she demands a greater role and more respect. At the same time, Jack and Isabel start to fall in love.
Despite the acting talent involved, Bewitched is remarkably thin on the ground and offers nothing beyond its flimsy premise. There is not enough here to even qualify as a romantic comedy, that most undemanding of sub-genres. The laughs are intermittent at best, Ferrell's childish overacting coming across as more obtuse than funny. The magic is limited and the chemistry non-existent.
Director Nora Ephron, who co-wrote the script, registers her own career low point, many miles away from the fresh and witty material that earned her deserved plaudits for writing When Harry Met Sally... and writing and directing Sleepless In Seattle. Here she displays an abject bankruptcy of ideas both in the script and behind the camera, and the film just dies a wretched death mired in predictability.
Will Ferrell is at his worst, over emoting to distraction, while Nicole Kidman quickly runs out of tricks as the naive but well-meaning witch. Michael Caine and Shirley MacLaine are wasted as unnecessary parodies of their late-career screen personas. Steve Carell makes a late appearance and adds an unhelpful dose of lunacy.
Bewitched causes a nose twitch, for all the wrong reasons.
All Ace Black Movie Blog reviews are here.
Monday, 20 October 2014
Movie Review: The 40 Year-Old Virgin (2005)
An uproarious sex comedy, The 40 Year-Old Virgin hits all its targets by mixing wild humour with the gentle awkwardness of a man struggling to make the jump into full adulthood.Andy (Steve Carell) is a lonely 40 year old, living on his own and working in the stockroom of a technology superstore. Andy is into comic books and toy collectibles, and has no social life to speak of. His work colleagues include David (Paul Rudd), still not over a failed relationship, Jay (Romany Malco), a loud and fast-talking ladies man, and Cal (Seth Rogen) who is smarter than he looks and in search of kinkier experiences. When Andy's co-workers find out that he is still a virgin and has almost given up looking for a meaningful relationship, they set about trying to help him.
Andy is hesitant but starts to take the advice of his new friends. Predictably, most of the experiences end in disaster. However, he does slowly gain some confidence to interact with women, and local business owner Trish (Catherine Keener) catches his eye. Bookstore clerk Beth (Elizabeth Banks) is also a potential partner, while Andy's boss and store manager Paula (Jane Lynch) graciously offers her services to help him with his predicament. But Andy gathers up his courage and embarks on a relationship with Trish without revealing to her that he is a virgin, and also gets to know her teenaged daughter Marla (Kat Dennings), herself grappling with upcoming initial sexual experience issues.
Directed by Judd Apatow, who co-wrote with Carell, The 40-Year Old Virgin is a laugh-fest driven both by characters and situations. Andy and his friends are just on the right side of believable as underachieving men searching for new ways to remain irresponsible, keeping the film away from farce. The comic set-pieces also maintain a toehold in the realm of the possible, from Andy receiving a chest waxing to joining Marla at a pregnancy prevention clinic.
The wilder moments are more hit and miss. A highlight is Andy, whose driving skills are limited to a bicycle, getting trapped into a car ride from hell with a very drunk driver in the form of club girl Nicky (Leslie Mann, Mrs. Apatow in a memorable and nonchalantly oblivious turn). Not as funny is a truncated and unnecessary encounter with a transvestite prostitute.
Amidst the mayhem, the film manages to explore the role of sex in a relationship from the male perspective. An annoying hindrance, an absolute necessity, a dangerous distraction, and the ultimate expression of commitment, sex proves to be important in all the ways that Andy feared and craved. Meanwhile, David, Jay and Cal also get their own dose of sexual education, and not in any way that they expected.
The supporting cast is rich in comic talent, with Apatow frequently deploying them in an undercurrent of dangerous mischievousness rather than brazen madcappery.
The 40 Year-Old Virgin is prodded out of his comfort zone and onto the path of responsibility in an adult world. And it's a laugh-out-loud transition, worth the years of waiting in unintended abstinence.
All Ace Black Blog Movie Reviews are here.
Monday, 29 September 2014
The Movies Of Steve Carell
All movies starring Steve Carell and reviewed on the Ace Black Movie Blog are linked below:
Bruce Almighty (2003)
Anchorman: The Legend Of Ron Burgundy (2004)
Bewitched (2005)
The 40 Year-Old Virgin (2005)
Little Miss Sunshine (2006)
Knocked Up (2007, cameo)
Evan Almighty (2007)
Dan In Real Life (2007)
Get Smart (2008)
Date Night (2010)
Crazy, Stupid, Love (2011)
Seeking A Friend For The End Of The World (2012)
Hope Springs (2012)
The Way Way Back (2013)
Foxcatcher (2014)
The Big Short (2015)
Café Society (2016)
Battle Of The Sexes (2017)
Last Flag Flying (2017)























































