'Hail Caesar' Preview

The Coen Brothers’ upcoming comedy ‘Hail Caesar’ is slated to hit theaters February 5^th.  Featuring a stellar cast that includes George Clooney, Josh Brolin, Scarlett Johansson, Channing Tatum, Jonah Hill, Tilda Swinton, and Frances McDormand,  the film takes place in 1950s Hollywood.  ‘Fixer’ Eddie Mannix (Brolin) is recruited to help right the ship on a movie production that stars Baird Whitlock (Clooney), a bumbling A-list actor who can’t remember his lines.  When Whitlock is taken hostage and held for ransom, chaos ensues.

The first Coen Brothers film since 2014’s ‘Inside Llewyn Davis,’ - which was an earnest character study of an aspiring folk singer/songwriter in the 1960s - ‘Hail Caesar’ presents as a zany comedy more in the vein of the Coens’ previous films  ‘O Brother Where Art Thou’ and ‘The Big Lebowski.’  In the trailer, Johansson flexes her comedy chops by adopting an abrasive New Jersey accent, and Hill shows his deep-seated insecurity shtick is good as ever.  A visual spectacle, vibrant colors pervade the scenes and costumes shown during the brief two and a half minute trailer.

Though it’s not likely to make a splash at the Academy Awards, ‘Hail Caesar’ should deliver a bevy of incompetent characters, a few belly laughs, a glut of witty dialogue. The film is primed to be another addition to the Coen Brothers’ impeccable filmography.

'Spotlight' Review

My expectations were sky-high when I walked into the theater.  Spotlight had garnered a 97% positive rating among critics on Rotten Tomatoes and a 95% among the audience.  The realization that my local theater- one I haven’t visited in at least two years- had redone its seating and now boasted leather recliners and ample leg room that not even I, at a gangly 6’1, could completely occupy.  A borderline insulting barrage of six or seven movie trailers then preceded what would be an underwhelming two hours.

Spotlight takes place early aughts and chronicle’s the Boston Globe’s journalistic efforts to uncover the catholic priest sexual assault scandal.  With a stellar ensemble cast that includes Michael Keaton, Mark Ruffalo, Rachel McAdams, and John Slattery, the film’s most noteworthy performance was Ruffalo’s portrayal of a neurotic and socially-awkward journalist who lived and died by his work.  Neal Huff also shines during his brief time on screen as an adult who was molested by a priest during his childhood.  Slattery showed what Roger Sterling would have been like had the character been on HBO and permitted to drop F-bombs. 

My biggest issue with the film was its complacency in merely recounting the journalistic findings and ignoring any significant characterization of the journalists involved.  The characters act as vehicles by which to relay information to the audience, and any type of engaging sub-plot is non-existent.  There is a discovery late in the film related to Michael Keaton’s character, but my reaction was one of indifference since I had not emotionally invested in his character throughout the film.  In addition to the lack of characterization, the plot lacked any significant stakes and legitimate resistance against the journalists’ mission.

The harsh settings
of the film, which were primarily the interiors of office buildings and dreary backdrops of an overcast Boston, made for a visually boring viewing experience.  The settings fits the tone of the film but does not make the final product any easier to watch.  The subject of the film is likely a large reason for its success.  Priest molestation is a genre that has not been tackled, so there is value in breaking that ground.  But something as fact driven as Spotlight would have fared much better as a documentary instead of a two hour film.

 2.5/5 

"Drinking Buddies" Review

“Drinking Buddies,” a 2013 ‘Dramedy’ that was released to minimal fanfare, grossed a paltry $342,946 at the box office, an unfortunate result for a film that weaved an engaging character-driven story.  Written and directed by Joe Swanson, a filmmaker who is only a decade into his career and already boasts several dozen directing, producing, writing, and acting credits to his name, the film is revelatory in its honesty.  Featuring failing and burgeoning relationships between refreshingly dynamic and realistic characters, “Drinking Buddies” weaves a nuanced story of slow-burning character development.

The relationship between Kate (Olivia Wilde) and Luke (Jake Johnson) is the heart of the film.  Co-workers at a beer brewing company, Kate and Luke spend their lunches and evenings together drinking beers and having all-around riotous times.  Although their chemistry is obvious, Luke always returns to his fiance Jill (Anna Kendrick), and Kate drunkenly visits her boyfriend Chris (Ron Livingston) before riding her bike home for the night.  When the couples intermingle and eventually vacation for a weekend together, it becomes evident that Kate and Luke, as well as Jill and Chris, may be better suited for each other.

Johnson and Wilde anchor the film with performances that permeate likability, charisma, and authenticity.  Improvising dialogue from the script outline written by Swanson, the two stars created a diverse array of genuine moments.  A friendly relationship built primarily on the fun-loving nature shared by Kate and Luke, the film’s progression begets inevitable drama that threatens the foundation of their idealistic work relationship.  Each character’s less glamorous side is explored in necessary but slightly contrived scenes of discovery.  The largest criticism with the film was that the exploration of these traits was not completely believable within the context of the story.

Supporting performances by Kendrick and Livingston are brimming with untamed neuroticism that balances out the fun-at-all-costs chaos of the film’s stars.  Jason Sudeikis shines in a minor role as a micromanaging boss, and TI West works well as comedic relief.

The 90-minute film breezed by without many belly laughs, which is expected from a film like this one.  More importantly, there was lack of excessive melodrama that so frequently decimates the ambitions and potential of character driven stories.  Distinctly human in a ‘Richard Linklater’ kind of way, “Drinking Buddies” is definitely worth a viewing.

                                                                    3/4 Stars

"While We're Young" Review

“While We’re Young” is a film that explores universally relatable themes of aging, truth, and pride.  The story focuses on Josh (Ben Stiller) and Cornelia (Naomi Watts), a middle-aged married couple that desperately attempts to avoid the inevitable burdens that accompany the aging process.  Josh teaches by night and attempts to produce earnest documentaries that prioritze adherence to truth above all else. Fletcher (Adam Horovitz) and Darby (Amanda Seyfried), a young and vivacious hipster couple, sit in on one of Josh’s classes and Fletcher introduces himself as a fan of Josh’s first, more critically acclaimed, documentary.  When the two couples dine out together, Josh and Cornelia are enthralled by Fletcher and Darby’s carefree spontaneity, while Fletcher and Darby appreciate how their older and more well-off counterparts can foot the dinner bill.  The film explores the evolving aspects of the relationship and the professional careers of Josh and Fletcher.

No other film I’ve seen has captured the hipster ethos more accurately than “While We’re Young.”  Brooklyn, VHS tapes, vinyl records, fedoras, skinny jeans, and beach parties in the city streets characterized Fletcher and the effect Fletcher has on Josh. This hipster motif provided great opportunities for Stiller to flex his comedic muscles, which were unfortunately underwhelming.  The hip-hop dance classes Darby attends may or may not be hipster influenced (I’m no authority on hipster culture).  Regardless, Cornelia, who is the only one in her circle of ‘older’ friends to not have a child and is growing apart from the baby-crazy moms, attends a dance class with Darby rather than sitting through another enervating mommy-baby musical sing-alongs with her aforementioned circle of friends.

A unique soundtrack that includes orchestral string music in addition to classics “Hit Em Up” by Tupac and “Buggin Out” by A Tribe Called Quest helps compensate for a visually dull cinematic experience.  Aside from the hustle and bustle of a few city scenes, the film forgoes engaging aesthetics in favor of dialogue.  And while the dialogue offers insight by punctuating the film’s themes, many of the conversations seemed contrived to achieve that very purpose.   It was not believable for the characters, within the context of their situations, to carry out such philosophical ramblings. 

Peter Yarrow did a phenomenal job playing the role of Cornelia’s father and legendary documentarian that Josh both respected and resented.  The narrative contained commentary on society’s abuse of technology, a wrinkle I’m a sucker for.  But ultimately the film flamed out in the second half, which was fraught with unbelievable scenes and accentuated by a climax containing cheesy 80s synth music.  The sound mixing was distractingly wretched throughout the entire movie.  I wanted to like “While We’re Young.”  The relatable themes provided a foundation for what should have been a more interesting story, and although there were redeeming qualities, the cumulative flaws were unforgivable.

                                                                             2/4 Stars

Draper's Moment of Zen

Matthew Wiener’s “Mad Men” finale capped off what has been a worthy farewell season to an all-time great television series.  The show took the country and critics by storm when it debuted in 2007.  Although it has not continued its dominance at the Emmy’s, the series was engaging as ever during these last few weeks.  Last night’s swan song brought closure to several character arcs, but more importantly provided Don Draper with a life-altering experience of serenity.

Don’s journey through season 7B has been characterized by loss.  Megan left him and took all his stuff.  Deserting his high paying position in advertising, Don sold his Manhattan suite and hit the open road with nothing but his Cadillac/Chevy and an envelope full of cash.  While traveling, he generously doles out money to anyone in need and gifts his car to a budding con artist.  Just when he thinks he has gotten rid of everything, Don learns of Betty’s cancer and is denied the opportunity to care for his children.  But there is still further to go before he hits rock bottom.

As Ted Chaugh mentions earlier in the season, it is apparent that California means something to Don.  With nowhere else to go, Don visits Stephanie Draper, the daughter of Anna Draper and the only person who calls him “Dick Whitman.”  Once Stephanie pushes Don away by questioning his instinct to move on from tragedy and never look back that Draper hits rock bottom.  The whole basis of the life choices he has made was called into question.  Maybe he was wrong all along.

The emotional breakdown during the therapy was a Don we had never seen.  It was a Don who had been pushed to the edge and found unconditional love for a man he did not know.  When he ordinarily would have drowned himself in a bottle, Don felt a deep kinship with another man’s struggle.  Throughout the show, he had never related to another person quite like this.

With his entire life stripped away and Stephanie Draper abandoning him at the retreat, all that is really left is enlightenment.  The path of giving up his possessions had been leading to this all season.  Bert Cooper’s song and dance about the best things in life being free had planted the seed.  For that one brief moment, Don experienced the serenity he so desired.  It was not a fulfillment of his ultimately insatiable desires, but it was satisfaction with his life as a whole. 

As for the rest of the episodes, Joan breaks free of corporate oppression and stifling relationships, Pete brings his family to Wichita, and Roger canoodles with Marie.  Meredith is relieved of her position at McCann and could not be more optimistic about it.  Sally further matures, and Betty prepares for death.  Peggy and Stan melodramatically profess their love for one another in a scene that seemed forced, marking the only flaw in an otherwise great episode.  But this show is primarily about Don Draper, and his ending was magnificent.