Identity Thief

Posted on February 7, 2013 at 6:00 pm

How did so many great performers get stuck in this awful movie? And why, why?

There’s one scene in this ugly and poorly paced road trip comedy that has the straight-laced Sandy (co-producer and star Jason Bateman) hiding in the bathroom because he is so agonized by what is going on in his hotel room.  The scammer who stole his identity (Melissa McCarthy) is drunkenly seducing an even tipsier guy named “Big Chuck” (“Modern Family’s” Eric Stonestreet) and two heavy people wanting to have sex must be funny, right?  Sandy runs the water in the bathroom and wraps his head in a towel to block out the sounds and thoughts.  As we went back and forth between the not-funny gyrations in the bedroom and the not-funny disgust in the bathroom, I was wishing I had a towel to wrap around my ears.  And my eyes.

Sandy Bigelow Patterson is a loving husband and father with a pregnant wife (Amanda Peet) holding onto a $50,000-a-year job at a financial institution where the big bosses are getting million-dollar bonuses, not for performance but for “retention.”  Director Jon Favreau (“Iron Man”) has a small role as the obnoxious partner who explains why he is worth all that money and a monkey could do Sandy’s job.  “I’m going to get you a copy of The Fountainhead,” he says, an overused signifier of soul-less arrogance.

Then, out of the blue, a group from Sandy’s office splits off and hires him at five times his old salary.  But his happily ever after is ruined when an identify thief takes advantage of his gender-neutral name (many not-funny jokes are made about Sandy’s overall unmanliness and how girly the name “Sandy” is).  She has not just blown out his credit card accounts; she has outstanding arrest warrants.  Sandy’s new boss gives him one week to straighten it out and the mild-mannered Sandy decides that what makes sense is for him to leave his family in Colorado and go to Winter Park, Florida to find the other Sandy and somehow bring her back to Colorado and get her to confess her crimes.

But she does not want to go, so she puts up a fight.  Worse, she loudly sings along to the car radio.  Even worse, through all kinds of trauma and misery she still manages to sport pale blue eye shadow left over from the 1960’s.  To further complicate things, she is being chased by a skip tracer because she owes a lot of money (Robert Patrick) and by a couple of elegant-looking hoods under orders from an imprisoned crime kingpin who wants her killed.

A sloppy script from Craig Mazin (some of the mid-“Scary Movie” franchise and the lackluster “Hangover II”) shows no sense of character, and dragged-out direction from Seth Gordon (the wonderful “King of Kong” and the hideously awful “Four Christmases”) shows no understanding of comic momentum.  And the film criminally mis-uses not just the exceptional talents of its two leads but also Stonestreet (we are subjected not just to disconcerting, almost random personality shifts and casual racism but also his bare butt), rapper/actor T.I., Genesis Rodriguez (she needs a new agent after this and Schwarzenegger’s “Last Stand”), and Robert Patrick (ditto after this and “Gangster Squad”).  McCarthy is as good as it gets in full-on, fearless, “yes, and” commitment to the moment that should be ideal for a character whose skill is constant re-invention and on-the-fly assessment — is this a time for aggression?  a play for sympathy?  But it is all surface, and an unpleasant surface at that.  Sandy #2 is both selfish and needy, the relentless morphing leaving us with nothing — no one — to connect to.  And when the classic-turned cliché mismatched road trip formula requires the pair to develop growing sympathy and respect from each other and from us, including, ugh, a makeover, it just collapses.

Parents should know that this movie includes extended sexual humor with very explicit and crude references and explicit situations, brief nudity, drinking and drunkenness, some drug references, very strong language, violence including shooting, punching, collisions, theft and fraud.

Family discussion: What made the characters change their minds about each other? How did Sandy and Diana see the rights and feelings of other people differently? What do you learn about Diana from her encounter with Big Chuck?

If you like this, try: “Midnight Run”

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Comedy Crime

Side Effects

Posted on February 7, 2013 at 6:00 pm

Those “ask your doctor about” commercials for medication always have a lawyer-imposed “side effects may include” section briskly recited by the narrator in the second half of the ad in the same bright but soothing tones used for the near-miraculous results described in the first half.  It is a difficult choice to balance the risks and benefits of some of today’s pharmaceuticals, made more difficult by the conflicts of interest that doctors and drug companies face in balancing what is best for the patients with what is best for them.

Steven Soderbergh’s nicely nasty and genre-bendingly twisty thriller takes place at the heart of this conflict.  Emily Taylor (Rooney Mara of “The Girl with the Dragon Tattoo”) takes mood-lifting medication to deal with the crushing stress she faces with her husband Martin (Channing Tatum) in prison for insider trading and the loss of all their money and their luxurious life in Connecticut.  Martin gets out after four years and promises her that he will get it all back for her.  But the stress is too much.  After a suicide attempt, her new psychiatrist, Dr. Jonathan Banks (Jude Law), who earns a little extra money with a cushy “consulting” fee from a drug company pushing a new anti-depressant, prescribes medication, and then more medication to deal with the side effects of the pills she is already taking.  We know from the very first scene that this is not going to turn out well.

The drug that “helps stop the brain from telling you you’re sad” and lets you “take back tomorrow” is something “everyone takes.”  “It doesn’t make you anything you’re not,” the doctor explains. “It just makes it easier to be who you are.”  But is his recommendation compromised by the $50,000 he gets just to “go to a few meetings, recruit some patients, track some data?”  Law is excellent as the doctor who wants to do the right thing but may want to do right by too many people.  And his judgment may be further compromised by a problem from his past.

Soderbergh and screenwriter Scott Z. Burns (“Contagion”) build some meta-surprises into the story. And just about anything more I can tell you after that would require a spoiler alert, so I’ll just say that the less you know about the movie before seeing it, the better you will be able to appreciate it.  In fact, don’t watch the television commercials.  They give too much away.  But if you need to know more now, I’ll just say that the movie’s biggest surprise may be how conventional it turns out to be.

 

(more…)

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Drama Thriller

Smile of the Week: Disney’s Oscar-Nominated “Paperman”

Posted on February 6, 2013 at 5:59 pm

Disney’s Oscar-nominated short is one of the best movie romances of 2012.  It appeared in theaters before the feature “Wreck-It Ralph.”  The music is by “Buffy the Vampire Slayer’s” Christophe Beck and it was produced and directed by John Kahrs.

http://www.youtube.com/watch?v=LEMrKxZLZWQ
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Animation Romance Shorts Smile of the Week

New Aspire Series About African-American Faith Leaders: The Scroll

Posted on February 6, 2013 at 8:00 am

The Scroll is a new series from director Parrish Smith shown on Magic Johnson’s Aspire Network featuring intimate, inspiring interviews with more than 50 African-American clergy.

 

Some of the faith leaders featured in the documentary are: Bishop T. D. Jakes, Rev. Al Sharpton Jr., Rev. Bernice A. King, Dr. Calvin O. Butts III, Rev. Dr. Jamal Bryant,Bishop Noel Jones, Pastor Floyd H. Flake, Bishop Kenneth Ulmer, Bishop Charles E. Blake, Rev. Dr. Della Reese Lett, Bishop Paul S. Morton, Pastor A.R. Bernard, and Bishop Joseph L. Garlington.

Smith generously took some time to talk to me about the series.

What surprised you most about making “The Scroll?”

How long it took to make it!  It was supposed to take one year, but it took three years to get access to the ministers, to get through their staff.  We got rejected, we would fax and call and and email and talk to assistants and they would say “who are you?”  We got no’s for a long time.  After a while, the yeses started to come through but the process took a long time.

What made them reluctant to participate?

Ministers and pastors have bulls eyes on their backs.  People have bad intentions and want to exploit them.  A lot of people see pastors as crooks.  One pastor gets caught in a scandal and all of a sudden all pastors are bad.  So many ministers are protective.  And there’s the scheduling problem as well.  They have traveling ministries and the scheduling is difficult.  But the primary problem is they don’t know who you are, and that’s understandable.

Were some of them concerned that revealing too much about themselves would interfere with their ministry?

Not necessarily.  We interviewed a few people we did not use because they weren’t being open and forthcoming.  But mos of them were.

What makes somebody a great preacher?

A minister told me that “a great sermon is the one you need at that particular time.”  A great preacher is subjective.  But perhaps he tells a story about how he overcame obstacles.  And perhaps you are sitting in the congregation going through something and it hits you at that time and hits other people at that time.  A great preacher is someone who can deliver a great message and a timely message from the heart.   But it comes from God; it doesn’t come from them.  They move themselves out of the way and let it flow through them to the congregation.

What is the importance of music in the church?

Music is a form of ministry, another form of prayer.  I know some people who really don’t get much out of church or out of the sermon, but they do from song.  Particularly in an African-American church, that tradition of music is historical in our culture.  Old gospel spirituals, old hymns, have been with us for a long time.  It’s a huge element in church.

Is humor important in ministry?

Yes and no.  Humor can help deliver a message.  But some people just want a strong, powerful message, very direct.  Some people think if it’s humorous, it’s not too strong.  I like it.  I think it helps to ease what they’re saying.  I know ministers who use humor and some who don’t.

What do you think about congregations taking advantage of new technologies to reach people?

If you stay home and watch church, you’re missing the fellowship.  If you’re at home watching it online you’re missing the camaraderie that you get in church.  But you have to change with the times.  You have to evolve and transcend the technology.  You can reach people who can’t come to church.  They can watch and still get the message.

How can churches reach out to younger people?

Some churches and some denominations are more traditional, like many AME churches.  They can lose the younger audience.  But if the pastor is young and the service is more upbeat, they can appeal to a younger crowd.  I was raised in a church that was very traditional.  I got very bored with church.  I went to college and didn’t go to church.  It wasn’t until I heard Kirk Franklin and more modern gospel that it brought me back to church, a church that wasn’t as structured and traditional, with shorter services.  The message was still there but the organ was replaced with more upbeat music.  That brought me back.

What do you want people to take away from watching this series?

It’s all about faith and hope.  We all go through trials and tribulations in life.  Hurricane Sandy, Katrina, the shooting in Connecticut, natural disasters and personal challenges.  “The Scroll” is about faith to help us Ministers are often unsung heroes.  We are distracted by the small percentage who are in the media for their mistakes instead of focusing on the good that most of them do.  Ministers are very smart, they’re great orators, and they give so much.  We don’t see them teaching children and going to hospitals and inspiring people every day, all the things that they do.  We see them on Sunday but they do so much more.  And “The Scroll” is a homage to my father, who was a pastor.

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Documentary Spiritual films Television

Seven-DVD Set of Holocaust Movies

Posted on February 5, 2013 at 8:00 am

 ALDEN FILMS is distributing a new 7-DVD special on the Holocaust that is an important resources for schools, libraries, and families.  For a limited time, the set includes two extra DVDs:

WHAT FIRE CAN’T BURN, a tale of a childhood lost to Thereseinstadt

BETWEEN BERLIN AND JERUSALEM, an interpretation of present-day attitudes to Jews and Israel in post-Holocaust Germany.

AMBULANCE  — the classic trigger film of the Holocaust, depicting the use of disguised ambulances as killing vans of Jewish children

 CHILDREN OF THE EXODUS — the uplifting film of child survivors of the Holocaust who miraculously sailed to Israel on the actual ship Exodus

1947  EICHMANN: THE NAZI FUGITIVE  — the story of the architect of the Holocaust and his eventual capture

LEGACY OF ANNE FRANK — a young girl hiding with her family wrote a diary that is still a testament to hope during the Holocaust.  This film features her father, Otto Frank, and Miep Gies, who hid the Frank family.

MEMORANDUM — the survivors of Bergen Belsen concentration camp return to the scene of their torment

POLAND/KOLBUSZOWA — a look back at the world of the Shtetl, which was destroyed by the Holocaust

SIGHET, SIGHET — Elie Wiesel’s haunting return to his hometown in Hungary, where the town’s Jews were rounded up and sent to Auschwitz, never to return

For orders and previews, call 800-832-0980

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Documentary
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