Entourage

Posted on June 2, 2015 at 5:32 pm

I sometimes muse that it might be nice to have a rule that I spend no more time writing a review of a film than the screenwriter spent writing the script. If I had, this review could end right here, with these words: not unpleasant but entirely forgettable.

Alas, no such rule exists, so here I go. Recently, I learned the term “fan service,” and if you do not know what that means, the “Entourage” movie will do to explain it. There are movies that pander to the fans, and then there are movies that pander proudly, and “Entourage” panders proudly and is seemingly unaware that there is any other kind of movie to make. This is a little sad because to the minimal extent it is supposed to be about anything, it is supposed to be about artistic integrity in the midst of soulless Hollywood. And by “supposed to be about,” I mean that the characters appear to come down on the side of artistic integrity. The filmmakers, not so much.

The dwindling fans of HBO series will enjoy the pretty girls in pretty settings, the passes at those pretty girls that are warmly received (vicarious thrills) and those that are not (vicarious schadenfreude), the Hollywood triumphs (v. thrills), and the Hollywood failures (v. schadendreude) . They will get a kick out of the guys’ loyalty (v. t.) and the industry betrayals (v.s.).

They will enjoy the insider-y feeling of the in-jokes, call-outs, and guest stars. All of that is entertaining, especially Liam Neeson giving Ari (Jeremy Piven) the finger and Jessica Alba in costume yelling at him about her passion project. I quite liked Warren Buffett calling out advice from a studio lot golf cart. And there were probably some sports people in it that I couldn’t recognize.

Like the series, the film was produced by Mark Whalberg, inspired by his life before he became a devoted husband and father, when he was taking advantage of being young, handsome, and successful in Hollywood and and his pals from back home were taking advantage of him. It ended with the young star Vince (Adrian Grenier), having starred in the biggest box office movie of all time, marrying a beautiful girl, and his volcanically profane agent, Ari (Jeremy Piven) retiring. Both the marriage and the retirement are dispatched in the first few minutes, with Ari coming back to head up a studio and offering Vince a job in a big film called “Hyde,” an updated version of Dr. Jekyll and Mr. Hyde.

But Vince wants to direct. Not because he has any special artistic statement he wants to make or because he has spent his time on movie sets learning how it’s done — Vince continues to be a cypher. No, it’s just to give Ari something to melt down about.
Vince’s buddies have two modes. Most often, they are razzing each other. Second to that is talking about banging chicks, much of which also involves their razzing each other. Every so often, some light-weight plot spurs them to bro out and demonstrate some loyalty. Rinse and repeat.

There is some good, silly fun, and seeing Piven go nuts is so delightful it is disappointing this film has him working on his anger management. But there’s nothing here that shows any particular insights into people or show business. Like Vince, it’s blank. And like his parties, you won’t feel so good about yourself afterward.

Parents should know that this film includes a lot of debauched behavior, with parties, drinking, drugs, and crude and explicit sexual references and situations and a brief fight scene.

Family discussion: Which of the guys is the best friend to Vince? If you made it big, which friends would you bring with you? Which one of your friends would you follow to Hollywood?

If you like this, try: the HBO series and “The Player”

Aloha

Posted on May 28, 2015 at 5:37 pm

Writer/director Cameron Crowe presents us with an attractive and talented but messy and compromised hero in “Aloha,” and asks us to root for him. The problem is that the film itself is attractive, talent-filled, messy, and compromised, and harder to root for than the hero of the story.

That hero is Brian Gilcrest (Bradley Cooper), once an 11-year-old who loved the sky so much he wanted to identify everything in it. In a quick narrated recap that opens the film we learn that after he grew up things went well for him (in the military) and then not so well, and then badly. While working for a private contractor in Kabul, he was badly injured, and apparently not in the way that gets you a Purple Heart.

Brian arrives in Hawaii and needs to prove himself. His former employer, Carson Welch (Bill Murray) is one of the wealthiest men in the world, presiding over a telecommunications empire. He and the Air Force are working together on a big project that involves the development of land on the island that was a burial ground for the indigenous people. The Air Force assigns a “fast burner” named Sergeant Ng (Emma Stone) to work with get the cooperation of the King of the native population to build on that property, and to show that by performing a blessing ceremony. The King is played by real-life King Dennis “Bumpy” Kanahele, and he is one of the few from Brian’s past who seems to like him much. Welch does not. The Air Force General (Alec Baldwin, volcanically angry) does not. Then there is Brian’s ex-girlfriend, Tracy (Rachel McAdams), now married to an Air Force pilot and the mother of two children.

It totally goes off the rails several times, with a plot that would daunt a Bond villain thwarted by a completely ridiculous hacking scene, plus a last-minute redemptive reconciliation that is so far off the mark of any known human response the characters would be just as likely to sprout feathers and levitate off the ground. While the Hawaiian natives and their struggle against what they see as American imperialism and colonialism are sympathetically portrayed, it is still a story that is about white people and their problems. And the casting of Emma Stone as bi-racial is insensitive at best.

But like its hero and its writer/director, it won me back with the crackle of its dialog and charm of its poetry, even in the hacking scene, and especially in a statement of romantic intent that is one of the best I’ve seen in many months. It is also very funny, with a wonderfully expressive performance from Krasinski as the taciturn Woody, and thoughtful work from Cooper, who keeps getting better at finding moments of surprising insight and nuance with every performance.

Parents should know that this film includes strong language, sexual references and non-explicit situation, paternity issue, references to war-related violence and injuries and to weapons of mass destruction, references to imperialism and colonialism, and alcohol.

Family discussion: Why did Ng talk so much about being one-quarter Hawaiian? Why was the King the only person from Brian’s past who seemed to like him? What happens when billionaires make decisions that used to be made by government?

If you like this, try: “The Descendants,” and “Almost Famous”

Related Tags:

Comedy Drama Romance

I’ll See You in My Dreams

Posted on May 21, 2015 at 5:55 pm

B+

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated PG-13 for sexual material, drug use and brief strong language
Profanity:	Strong language
Alcohol/ Drugs:	Drinking, marijuana
Violence/ Scariness:	Some mild peril, sad death
Diversity Issues:	None
Date Released to Theaters:	May 22, 2015

Blythe Danner gives a performance of exquisite sensitivity in “I’ll See You in My Dreams,” the story of a lonely widow. She plays Carol, a singer-turned teacher who retired 20 years ago after her husband died. Her friends in a nearby retirement community urge her to join them but she prefers to stay in her home, her primary companions her dog and her glass of white wine.

The movie begins by taking us through a day we surmise is just like hundreds of others. She plays cards with friends, she plays golf, she feeds the dog, she sips wine and watches television. She keeps busy and she is not unhappy. She has plans, and she has fun, but she does not have much of a sense of purpose. When a rat invades her home, it is unsettling. She asks her new pool cleaner for help.

His name is Lloyd (Martin Starr), and he is lost in a way that makes her feel able to talk to him. Her feelings toward him are not maternal or romantic. But he is smart, and funny and self-deprecating and he was willing to help her with the rat. And he is newly back in town and living with his parents, so he can use a friend, too. When he tells her about going to do karaoke, she agrees to go with him.

A speed dating event with her friends is a hilarious disaster, but that may make an overture from a handsome stranger named Bill (Sam Elliott) seem more appealing. Writer/director Brett Haley has a good sense for the way people who have no time for trivialities get to the point with each other, wasting little time on getting-to-know-you trivialities. Carol’s conversations with Lloyd and Bill are direct without being intrusive, and especially without being judgmental. When she is with her friends, there are easy exchanges that reflect the kind of connection based on the shared experience of being an older woman. A scene where they all get high on one friend’s medical marijuana is completely charming.

It is almost beyond belief that this is Danner’s first romantic lead in a film. She is breathtaking. Haley wisely just leaves the camera on her beautiful face as she sits with her beloved dog while he slowly stops breathing in the vet’s office. Her grief is devastating. Her devotion is deeply moving. Her performance of “Cry Me a River” in karaoke is also magnificent. The incandescence she brings to the story of a woman who is still struggling for connection makes this one of the most touching performances of the year.

Parents should know that this movie has strong language, drinking and drugs, sexual references and situations, and a sad death.

Family discussion: What do we learn about Carol from the karaoke scenes? Why did she become friends with Lloyd? How is dating different for older people than for younger people?

If you like this, try: “The Best Exotic Marigold Hotel” and its sequel

Related Tags:

Drama Movies -- format Romance

American Sniper

Posted on May 18, 2015 at 8:00 am

B+

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	R for strong and disturbing war violence, and language throughout including some sexual references
Profanity:	Very strong language
Alcohol/ Drugs:	Drinking and drunkenness
Violence/ Scariness:	Wartime violence including battles and snipers, characters injured and killed, disturbing images
Diversity Issues:	A theme of the movie
Date Released to Theaters:	January 16, 2015
Date Released to DVD:	May 18, 2015
Amazon.com ASIN:	B00RGZ915C

The highest-grossing movie of 2014 is also one of the most controversial. Director Clint Eastwood and producer-star Bradley Cooper have made a more subtle and nuanced film than either the people who loved it or the people who hated it give him credit for. Extremists on both sides found validation for their views, whether for or against the wars in Iraq and Afghanistan or for or against the actions of the military there. That may be the most significant proof of the evenhandedness of Eastwood, a man who made two separate films about Iwo Jima to tell the stories of both the Japanese and American military.

We see Chris Kyle as a young boy, hunting with his father (Ben Reed). We learn two key facts. First, even at that age, Kyle is a very good shot. Second, we hear his father explain that there are sheep, wolves, and sheepdogs, and he expects his boys to grow up to be protectors of sheep, not wolves or their victims.

Nevertheless, Chris grows up (now played by a bulked-up Cooper) without much direction until he decides to enlist. In the movie, it is a response to news reports about Americans being killed by terrorists, following time spent as a ranch hand and finding his girlfriend in bed with another man. In fact, Kyle had always planned to join the military and he does not mention the girlfriend in his book.

This is the kind of diversion from the truth that has caused some viewers to argue that the portrayal is slanted. Later on, as he becomes the deadliest sniper in US military history, the film again unnecessarily ramps up the drama as though Eastwood does not trust the audience to appreciate the intensity, moral quandaries, and psychological impact of war or the courage and skill required of the military. They really did not have to inflate the story of the bounty being put on his head or make it seem as though he was the only one.

The movie and Kyle’s book both begin with a real-life story of Kyle’s first day, where he shoots a woman with a grenade (in the movie, he shoots the child she hands it to as well). This parallels a later moment where he has to decide whether to shoot. Kyle says in both book and movie that he has no regrets. Whether the viewer concludes that is the reason or the result of combat is left to us.

Parents should know that this movie concerns the real-life experiences of a military sniper in combat, with many characters injured and killed and disturbing images. Characters use strong language and there are sexual references and situations and drinking and drunkenness.

Family discussion: Who are the sheep/wolves/sheepdogs in your life?

If you like this, try: “The Hurt Locker” and “The War Tapes”

Ride

Posted on May 7, 2015 at 5:05 pm

B+

Lowest Recommended Age:	High School
MPAA Rating:	Rated R for language and some drug use
Profanity:	Some strong language
Alcohol/ Drugs:	Drinking, drugs
Violence/ Scariness:	Peril
Diversity Issues:	None
Date Released to Theaters:	May 8, 2015
Date Released to DVD:	August 17, 2015
Amazon.com ASIN:	B00Y250GE4

A surf bum named Ian (Luke Wilson) is explaining the physics of the interaction between surfboard and wave: it’s an inanimate object in an ever-changing environment. One doesn’t move. One never stops moving in powerful and highly unpredictable ways. And that is also the story of the woman who is not quite listening to Ian’s explanation.

Oscar-winner Helen Hunt writes, directs, and stars in “Ride,” the story of Jackie, an overprotective Manhattan mother whose son, Angelo (Brenton Thwaites) flees for California to surf. Her plan was for him to start college just 85 steps away from the apartment that they share, constantly calling back and forth to each other rapid-fire as they work on their laptops. He feels claustrophobic and over-managed, so when he visits his father in California he decides to stay. Jackie finds out when she visits his dorm to make his room more homey.

She follows him out to California and when he does not want to talk to her, the only way she can think of to stay close to him is to learn to surf. And so we will see her lose or relinquish everything she thought was essential to who she was: her black Manhattan editor wardrobe, her constantly buzzing phone, her willingness to be perpetually available to handle crises at the office, her reluctance to meet her ex-husband’s new family, the intensity of her connection to her son, and the equal intensity of her refusal to rely on anyone but herself. She has been an inanimate object in an ever-changing environment. Can she adapt?

Hunt’s script is clever and warm-hearted. As with her previous film, Then She Found Me, loosely adapted from novel by Elinor Lipman, the film explores the challenge of being a loving and supportive mother to an adult or almost-adult child while being a person at the same time — and letting the child be a person, too.

After a short introduction, where we see her sitting on the other side of her then-preschool son’s bedroom door all night, tiptoeing out of the way so he won’t see her when he gets up to go to the bathroom, we see them just before he is supposed to start college. He repeatedly asks her for help with his story, but she is an experienced editor who has worked with nervous authors for many years and she knows better than to do the work for him. “It just has to be surprising and inevitable,” she tells him. And clearly, that is advice that Hunt the screenwriter has taken to heart as well.

She has a great sense for writing say-able dialog that sounds smart and believably witty while letting us know who the characters are through what they say and how they say it.

Parents should know that this film includes strong language, sexual references and situations, drinking, and drug use.

Family discussion: Did the end of this story feel both inevitable and surprising? What will happen next?

If you like this, try: “Then She Found Me”