How to Be a Latin Lover

Posted on April 27, 2017 at 10:40 pm

I like everyone connected with this movie so much that I am especially sorry to give it a bad review. Mexican star Eugenio Derbez is a wonderfully engaging performer with enormous warmth and charm, as we saw in “Miracles From Heaven,” where he played the doctor. The supporting cast includes Salma Hayek, Kristen Bell, Rob Riggle, Raquel Welch, Michael Cera, Michaela Watkins, Rob Lowe, and even Weird Al Yankovic. The director is the very funny Ken Marino (“Burning Love”). And it introduces a terrific young actor, Raphael Alejandro, who is the highlight of every scene he is in. But all of that talent cannot overcome a painfully unfunny script by Chris Spain and Jon Zack.

In the opening scene, a young brother and sister see their father drive into their house, creating an explosion that kills him and destroys their home. There’s a way to start a comedy!

This is an important lesson in the uncertainty of life, which the boy interprets as: Find a wealthy lover and be pampered for as long as you live.

As a healthy and handsome young man (played by Derbez’s very attractive young son), Maximo woos a wealthy, middle-aged lady (Renee Taylor). Twenty-five years later, Maximo (now played by Derbez) is living a blissful Richie Rich life, except that he has to sleep with a very old lady. A battalion of servants attends to his every wish, even turning his poolside lounger to follow the sun or turning the pages of his e-reader. He never even has to take a step: he glides through the mansion on a hoverboard. The most exercise he gets every day is reaching over to his wife every morning so he can put a mirror under her nose to see if she is still breathing. And maybe pointing to the new sportscar he says he is buying for her but is really buying for himself.

Unfortunately, the car salesman sells himself along with the car, and Maximo is out on the street with nothing but a faint memory of an ironclad pre-nup. He needs a new old lady to marry, and until then he needs a place to stay. Which is how he ends up knocking on the door of his sister Sara (Hayek), a widow with a young son, Hugo (Alejandro). Many slapstick encounters ensue, including a guy in a wheelchair getting hit by a car three different times, a tenderhearted girl getting shredded by her cats, but mostly about Maximo helping Hugo talk to Arden, the girl he has a crush on (Mckenna Grace of “Gifted”) so he can make a move on Arden’s rich grandma, played by Raquel Welch. Yes, let that sink in for a moment: Raquel Welch. Also, some guys want to beat him up but I don’t need to say why because you can assume that pretty much everyone is on their side by this point. I’m guessing you will be, too, when I explain that in addition to the wheelchair “joke,” it is also supposed to be humorous that Maximo removes a disabled character’s prostheses and that when he tries to dye his hair with shoe polish and dives into the pool, everyone things, well, you know what’s hard to tell from Shinola. I’d say the same for this screenplay.

Parents should know that this movie has material that pushes the limits of PG-13 with a lot of crude humor and comic peril and violence. There is very strong language, some to a child, alcohol, sexual references and situations, and “humor” about disabilities.

Family discussion: Was any of Maximo’s advice to Hugo worth following? Why did Maximo choose that career?

If you like this, try: “Stuck on You” and “Shallow Hal”

Related Tags:

Comedy

Going in Style

Posted on April 6, 2017 at 5:31 pm

B-

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for drug content, language and some suggestive material
Profanity:	Some strong language
Alcohol/ Drugs:	Alcohol
Violence/ Scariness:	Mostly comic peril and violence, issues of aging and illness
Diversity Issues:	Diverse characters
Date Released to Theaters:	April 7, 2017
Date Released to DVD:	July 31, 2017

Oscar winners Morgan Freeman, Michael Caine, and Alan Arkin are such a dream team that we almost forget how weak this remake of the 1979 George Burns “Going in Style” is. It is always a pleasure to see these old pros, and in this heist story the real theft is every scene they are in from anyone else in the cast.

As in the original, which co-starred Art Carney and Lee Strasberg, it is the story of three old guys who rob a bank. This time, the script by Theodore Melfi (“St. Vincent,” “Hidden Figures”) leverages the post-financial meltdown Trump era animosity toward banks and big multi-national corporations that consider the pensions they promised their long-term employees as just another stream of revenue to redirect to investment bankers and CEOs. Joe (Caine), Willie (Freeman), and Albert (Alan Arkin) are not just proving that experience and wiliness will triumph over youth and overconfidence; they are a new version of Robin Hood, seeking justice for the little guys.

The men are all retirees from the same manufacturing company, which is moving all of its operations out of the United States and cancelling all pension plans. Joe, whose daughter and granddaughter (Joey King) live with him, has had to stop making the mortgage payments that tripled after his rate went up, and his home is in foreclosure. Willie’s dialysis is not enough any more and he will die if he does not get a new kidney. When Joe’s meeting at the bank about his mortgage is interrupted by a bank robbery, it looks like a way for him to solve his money problems.

The three leads give it their best, and there is simply nothing better than that. Their enjoyment in each other and in the chance to have some fun as the movie’s heroes is palpable. And it is a joy to see the still-lovely and very game Ann-Margret as a grocery store clerk with a crush on Al. “SNL’s” Kenan Thompson and Siobhan Fallon Hogan are bright spots, but the gifted Matt Dillon, Christopher Lloyd, Josh Pais, and Peter Serafinowicz (“Spy”) are vastly under-used in one-dimensional roles. This especially disappointing from director Zach Braff (“Garden State”) and screenwriter Theodore Melfi, who seem to think that their only choice here is to make a thinly imagined, tiresomely formulaic, numbingly predictable story. Topical references notwithstanding, the movie is more outdated than the 1979 original.

Parents should know that this film includes armed robberies, guns, serious illness, marijuana, drinking and drunkenness, some strong language, sexual references and non-explicit situations.

Family discussion: What did each man find the most persuasive reason to rob the bank? What was the most important advice they got?

If you like this, try: the original version with George Burns, Art Carney, and Lee Strasberg, and “Tower Heist”

Crowdsourcing Phyllis Diller’s Legendary Joke File

Posted on March 4, 2017 at 3:09 pm

Now this is cool. Legendary comic Phyllis Diller’s legendary joke file of more than 52,000 index cards is now at the Library of Congress, and they have invited all of us to help digitize the files. It’s like Wikipedia; anyone can participate, for just one joke or for hundreds or thousands. Just take a look at one of the jokes and type it up (some of them are just a few words). There are a few simple rules about formatting to indicate underlines, strikeouts, etc. Or, you can be a “reviewer” and just confirm or correct some of the draft transcriptions. Even if you don’t want to participate, it is a lot of fun to scroll through the files online, a real artifact of an era, and of course very funny.

Table 19

Posted on March 2, 2017 at 5:59 pm

B +

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for thematic elements, sexual content, drug use, language and some brief nudity
Profanity:	Some strong and crude language
Alcohol/ Drugs:	Drinking and marijuana
Violence/ Scariness:	Comic peril, no one hurt, medical issues
Diversity Issues:	Diverse characters
Date Released to Theaters:	March 3, 2017
Date Released to DVD:	June 13, 2017
Amazon.com ASIN:	B06XYSX6KQ

I know. They hate the term. But it is impossible to talk about Mark and Jay Duplass (as writers, anyway, aside from their work as actors, directors, and producers) without the dreaded term “mumblecore,” which was applied to their early microbudget work because of the improvisational, shaggy-dog, millennial-ness of their work. Traces of that remain in “Table 19,” cross-bred with a more conventional romantic comedy, and it turns out to be a welcome blend of sweet and sour. This is not the usual Jennifer/Jessica with a quippy best friend, a meet cute, and a makeover.

We’ve all seen that placecard and most of us have been seated by it: the table for leftover wedding guests who aren’t the family or close friends of either bride or groom but somehow had to be included. Eloise (Anna Kendrick) provides the fellow denizens of the dreaded Table 19 with the inside scoop. Back just a few months earlier, when she and the bride, her oldest friend, were planning everything together, Table 19 was for the people who did not fit in anywhere else, the people who had to be invited but who the hosts were hoping would not make it, still sending a gift from the registry.

The characters may be third-tier in the minds of their hosts, but they are played by top tier comic talent. Lisa Kudrow and Craig Robinson play a married couple who have fallen into a marital death spiral of bickering that makes them miserable and humiliated, but they cannot seem to find their way out of it. Stephen Merchant is a cousin of the groom who seems unfamiliar with social interactions of any kind. “The Grand Budapest Hotel’s” Tony Revolori is a teenager with raging hormones but no idea of how to talk to girls. June Squibb plays the bride’s first nanny.

And then there is Eloise, once a maid of honor and dating the bride’s brother/best man (Wyatt Russell), but, since they broke up two months earlier, stuck at Table 19, on the other side of the ballroom, near the restrooms. We know she almost didn’t come; she even started to burn the invitation. But for some reason, she was determined to be there, and there she is, on the wedding table island of misfit toys. A mysterious and handsome man appears and he has an English accent and a way with an aphorism. Could he be her Prince Charming?

Very able performers make up for some story shortcomings, including a too-neat resolution that I’m guessing was recut after test screenings. Kendrick is as always a marvel of precision, heart, and comic timing, so every time things start to go off kilter, we know she will get us safely home.

Parents should know that this film includes some strong language and comic mayhem, brief comic nudity, drinking and tipsiness, marijuana, and sexual references including adultery and pregnancy.

Family discussion: Why did Eloise go to the wedding? How did sitting at Table 19 make it possible for her to acknowledge her feelings? What’s your funniest family gathering experience?

If you like this, try: “Rocket Science” with the same director and star

Related Tags:

Comedy DVD/Blu-Ray Romance

The LEGO Batman Movie

Posted on February 6, 2017 at 5:26 pm

“The LEGO Batman” movie is not just sure to be one of the funniest movies of the year, with laugh lines that come so fast it is impossible to catch your breath before the next one. It is also the most astute mash-up of love letter and take down of a popular culture icon since the brilliant “Galaxy Quest.”

“The LEGO Movie” was an unexpected blockbuster, sweet and very funny, surprisingly ambitious in scope. This spin-off is more focused, its basic structure very much in the tradition of the DC Comics character as created by Bob Kane and Bob Finger and as interpreted through the Adam West television series of the 1960’s, the Dark Knight comics and movies, and the Tim Burton movies, all of which get quick, understated, very clever nods so deeply enmeshed in the history and culture of Bruce Wayne/Batman and his world as to satisfy the heart of the most devoted fanboy. There’s even a plane from McGuffin Airlines.

The movie opens on a black screen. In case we don’t understand why, LEGO Batman explains that “all important movies begin with a black screen” and edgy music and logos. Just in case that isn’t pretentious enough, there’s also a quote on the screen…from that great philosopher Michael Jackson.

The Joker (Zach Galifianakis) has a great big bomb and is getting ready to blow up Gotham. This is very serious as it turns out Gotham is held up only by, well, pretty much a table. Batman comes in to take the bomb and save the day — also to break the Joker’s heart because he won’t acknowledge that the Joker is the most special and important of all of the villains. Pro tip: when you confiscate the Joker’s big “unnecessarily complicated” bomb, disable it before you stow it in the Batcave museum.

Gotham saved, Batman goes home to a lonely lobster thermidor dinner and a solo screening in his home theater, where he has a collection of mostly-cheesy romantic comedies. When he’s not responding to the Bat Signal and saving the day, he roams around Wayne Manor gazing pensively at old family pictures (note that on that last shot of his parents outside the theater, the nearby street sign says “Crime Alley”). But of course it would not be a Batman movie without some fancy society gala, so he dons his tux and goes to Commissioner Gordon’s retirement party. Barbara Gordon (Rosario Dawson) is taking over and to Batman’s dismay she tells the crowd that she plans to stop relying on Batman for all of Gotham’s crime-fighting needs. (After all, even with all his skill, Gotham is still constantly being attacked by deranged and very colorful bad guys.) She wants to involve more people in law enforcement. Batman is not at all happy about this. Furthermore, he is so distracted he sort of accidentally agrees to adopt an enthusiastic orphan with big anime-style eyes (Michael Cera as Dick Grayson).

Joker has come to a similar conclusion and he decides to team up, too — with the inhabitants of Superman’s Phantom Zone, including just about every literary bad guy anyone 12 and under might know, from Harry Potter’s Voldemort to King Kong and Oz’s Wicked Witch of the West.

The jokes come very fast, usually understated and references to pop culture, which adds to the feeling of being in on something. And the visuals are delightful, perfectly evoking the adorable clunkiness of the LEGO universe. The flames are made of plastic and the guns go “pew pew pew” instead of “bang bang bang.” But the cleverest idea of all was understanding that the very same qualities that make Batman, especially in his Dark Knight persona, so compelling work even better if he acts petulant and childish instead of a brooding and mysterious. The playground-style taunts are funny because they are real and relatable, no matter how old you are.

Parents should know that this movie has cartoon-style action and peril, with no one hurt, some schoolyard language and potty humor.

Family discussion: Why is it hard for Batman to rely on other people? Why does he like to watch romantic comedies? How does he feel when he sees all the other Justice League superheroes at the Fortress of Solitude? Why does the Joker care how Batman feels about him?

If you like this, try: “The LEGO Movie”