Tammy

Posted on July 1, 2014 at 5:59 pm

Top talent is wasted in this un-funny and disappointing vanity production from Melissa McCarthy and her husband, Ben Falcone.

They wrote it, or, more accurately, assembled it from pieces of other films, some better (“Thelma and Louise”), some even worse (McCarthy’s own “Identity Thief”). Falcone directed the film and appears as a fast food restaurant manager who fires the title character, played by McCarthy. Tammy is late to work because she ran into a deer and has been trying to resuscitate the stunned animal by blowing on it and making encouraging comments like, “Walk it off.” After she gets fired (contaminating the food in the kitchen by shaking her hair and rubbing saliva on it on the way out), she goes home to find her husband (Nat Faxon) entertaining a lady friend (Toni Collette). For the second time in ten minutes, she tries to make rejection and bad attitude funny. For the second time, but not the last, she is unsuccessful.

She goes a few doors down the street to her parents’ house and tells her mother (Allison Janney) she is taking her grandmother’s car and getting out of town. Her grandmother, Pearl (Susan Sarandon), insists on coming along and provides a powerful inducement: more than $6000 in cash. And so, they’re off on the road in Pearl’s Caddy for a road trip comedy so derivative of every road trip comedy you’ve ever seen that it could be another in the apparently-assembled-by-robots “Scary Movie” franchise. Will they visit a roadhouse and make bad decisions? Yep. Will there be arguments, revelations, and bonding? Yep. Encounters with old acquaintances and new friends? And don’t forget the hilarity of being hospitalized and arrested and put in jail!

Like the odious “Identity Thief,” the movie wants to have it both ways. We are supposed to laugh at McCarthy’s character for being loud, obnoxious, willfully dumb (she does not know who Mark Twain is, but pretends she does — funny, right?). We are supposed to find it funny and endearing that she is at the same time both arrogant (she brags about her ability to seduce men) and painfully insecure and sensitive (she pleads with the girl she is robbing to be her friend). Of course there has to be a makeover. And then there’s the ever-popular old people having sex humor. Yay!

The wisest decision McCarthy and Falcone made was in casting. Sarandon is a joy, and of course efforts to make her seem old and infirm fail completely. She is and will always be imperishably glorious. Mark Duplass makes the most out of an underwritten role as a generic NICE GUY/LOVE INTEREST. Kathy Bates and Sandra Oh are pure pleasure as a kind-hearted and generous couple, and Dan Aykroyd has a nice moment as Tammy’s understanding and supportive dad. But the script’s sloppiness keeps getting in the way as characters’ major personality changes bear no relationship to anything beyond the needs of each individual scene. Falcone clearly loves his wife and it is touching to see her and make her look beautiful without makeup (before the makeover, even with two-tone hair). I can’t help thinking that the over-the-top antics were the trade-off to get financing for the film, and the quieter, more dramatic moments, some truly touching, were what interested them. It is in those moments we get a glimpse of what McCarthy can do and it would be great to see her in a movie where she gets to take that journey instead of this one.

Parents should know that this film includes very strong and crude language, sexual references and situations, alcohol and drug abuse, comic peril and mayhem.

Family discussion: Is there a place you’ve always wanted to go? How did Bobby and Lenore make Tammy feel differently about herself? Why did she forgive her grandmother?

If you like this, try: “Bridesmaids” and “The Heat”

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Comedy Scene After the Credits

X-Men: Days of Future Past

Posted on May 22, 2014 at 6:00 pm

X-Men fans will see this film anticipating the pleasure of watching their favorite X-Men characters in one of the comic book series most acclaimed storylines: the time-bending saga of a desperate trip to the past to undo one tragic mistake. Wolverine, Mystique, and the old and new versions of Professor X and Magneto are all here and there are grandly staged action scenes involving the White House lawn, Chinese ruins, and a sports stadium. But the powerhouse knock-you-socks-off what-did-I-just-see moments come from a new character in the movie franchise, Quicksilver (Evan Peters), who does a little time-bending of his own in the most dull and domestic of settings, a kitchen. Well, it’s a kitchen in the Pentagon, but still. Part “Matrix,” part Chuck Jones, it is sure to be on end of the year best lists. And of course Jennifer Lawrence is terrific as the conflicted Raven/Mystique, whose loyalties shift almost as often as her chameleonic exterior, and who looks sensational in a costume so revealing that would make a Las Vegas showgirl look like she’s wearing a parka.

Marvel’s X-Men are mutants, the next stage of evolution past homo sapiens, with a range of intriguing and sometimes mutable superpowers. They also represent the next stage of evolution as superheroes, with conflicted characters and complex extended storylines that resonate the themes of societal, political, and psychological struggles. Characters go back and forth between the “good guy” (want to work with humans) and “bad guy” (believe humans can never accept or keep up with them so they should be wiped out in a Darwinian overthrow of the less-fit) teams.

We’ve seen the present-day X-Men in a trilogy of films and stand-out Wolverine (Hugh Jackman) in two starring vehicles. And saw the origins of the first X-Men, Charles Xavier, known as Professor X, and Erik Lehnsherr, known as Magneto, in X-Men: First Class. Now, everything comes together in the time-travel saga “Days of Future Past,” a little bit “Terminator,” a little bit “Back to the Future,” as Wolverine goes back in time to change one event in order to prevent the creation of an army of killer robot drones that wiped out most of the mutants and humanity, too.

This will require getting the band back together, including teaming up sometime friends/sometime enemies Charles Xavier (played in the past by James McAvoy and in the present and future by Patrick Stewart) and Magneto (played in the past by Michael Fassbender and in the present and future by Ian McKellen). (Nerd note: In the comic book series, it is Kitty Pryde (Ellen Page) who transmits her consciousness back in time to her younger self, but in the movie she sends Wolverine’s consciousness back to his younger self instead.) Thankfully, they minimize the “How do I know you’re really from the future?” stuff and get to the action, starting with breaking Magneto out of the most secure prison facility on earth, buried under the Pentagon. This is where Quicksilver comes in very handy.

Newcomers will enjoy the action and it may lead them to check out the earlier movies and the comics to find out more about the X-Men universe. Fanboys and fangirls will appreciate a couple of insider references. Those old enough to remember the 70’s will appreciate some insider references, too, like the recording device in Richard Nixon’s oval office and the synth-infused score. As in all the best X-Men stories, the themes feel visceral to our times — national security, the definition of “other.” Just don’t try to resolve all the temporal anomalies, and you’ll have a blast.

Parents should know that this film has extended action/comic-book humor, with many characters injured and killed, guns, explosions, fire, some graphic and disturbing images, some strong language, drug use, brief nudity and very revealing attire.

Family discussion: If you could go back in history and change one thing, what would it be? If you could have any of the powers of the X-Men, what would you choose? How should the government make decisions about threats like the X-Men?

If you like this, try: the other “X-Men” movies and “The Avengers”

Movie Stingers: Scenes After the Credits

Posted on April 18, 2014 at 8:00 am

Ferris Bueller had one. Marvel superhero movies sometimes have two. When did it become a thing to have a scene after the credits (sometimes called a stinger)?

New York Magazine’s Vulture column has the history of these extended post-credit scenes, starting with the original “Oceans 11” (the one with the rat pack) and James Bond films’ teasers for the next chapter.

Today, post-credits scenes show up in both superhero and non-superhero movies (like Anchorman 2 and Now You See Me). The only difference now is that each frame is meticulously analyzed and studied after the fact. In fact, the post-credits practice has become so accepted that there are now two apps called MovieStinger and Anything After, which are dedicated to tracking these moments in new movies.

The website AfterCredits is also a good resource with what looks like a definitive list. What’s your favorite post-credit scene? I’m going with the shwarma.

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Scene After the Credits

Muppets Most Wanted

Posted on March 20, 2014 at 6:00 pm

A-

Lowest Recommended Age:	All Ages
MPAA Rating:	Rated PG for some mild action
Profanity:	None
Alcohol/ Drugs:	None
Violence/ Scariness:	Some peril and action, no one hurt
Diversity Issues:	Diverse characters
Date Released to Theaters:	March 21, 2014
Date Released to DVD:	August 11, 2014
Amazon.com ASIN:	B00H4RL2H2

The Muppets live up to the title in this adorable follow-up that is even truer to the essence of Muppetry than the Jason Segal predecessor because it puts the Muppets themselves at the heart of the story, not the humans. And that’s very good news. No one is better than the Muppets at creating a giddy mixture of sharp wit, delirious silliness, pop culture references (here they range from Ingmar Bergman’s scythe-bearing Death chess match to a “Producers”-inspired prison gang kick-line) and random guest stars (Lady Gaga! Tony Bennett! Together!), and a self-deprecating but irrepressibly sunny sensibility. There is always grand spectacle, romance, and heart, even a brief but telling lesson in manners. Plus, there’s another tuneful and hilarious collection of songs from Oscar-winner Bret McKenzie. The result is pure joy.

It starts about one minute after the last movie ends. The human couple is clearly on the road to happily ever after, but what about the Muppets? Time for a sequel! “While they wait for Tom Hanks to Make ‘Toy Story 4,'” they sing, even though “everybody knows that the sequel’s never quite as good.” They also blithely explain that we can expect “a family-style adventure during which we should bond and learn heartwarming lessons like sharing and taking your turn and the Number 3.”

The Muppets hire Dominic Badguy (“pronounced Bad-GEE”) (Ricky Gervais) as their new tour manager and go to Europe to perform. He actually is a bad GUY, however, and the tour is just a cover for an elaborate series of heists, conveniently located next door to the venues selected by Dominic. Meanwhile, Constantine, the most dangerous frog in the world, escapes from the Siberian gulag where he has been in prison. And he looks almost exactly like Kermit, except for a distinctive beauty mark on his cheek. Constantine slaps a fake birthmark onto Kermit’s cheek, covers his own with green make-up, and soon Kermit is captured (vainly trying to explain that he’s an “Amphibian-American”) and sent to the gulag.

And Constantine is running the Muppet Show. Even though he speaks with a thick accent and has a completely different personality, none of the Muppets notices the switch, especially when he tells them they can do whatever they want. Miss Piggy does not realize that her beloved frog has been replaced.

Meanwhile, the hard core prisoners in the gulag (including Ray Liotta and a mystery guest star in solitary) figure out immediately that Kermit is not Constantine because he says “thank you.” Even Nadya (Tina Fey), who runs the prison, knows it is not Constantine. But her fondest dream is a first-class gulag musical show. She won’t let Kermit leave because she needs him to direct it. And she knows every possible trick the prisoners might try to sneak out. She explains, “I have a Netflix account with the search words ‘prison escape.'” Also, she likes him. So, soon Kermit is overseeing a prison kick-line to a song from “A Chorus Line” (the guy in solitary has a great set of pipes). And Constantine is getting ready for the biggest heist of all: the British royal family’s crown jewels, though — wait for it — “It’s not easy being mean.”

On the path of the master thieves are a pair of non-master detectives, Jean Pierre Napoleon from Interpol (Ty Burell, through no fault of his own the movie’s only weak point) and Sam the Eagle from the FBI. Their competition over the size of their badges is rather fun, but then their appearances descend into repeated and increasingly flat jokes about Napoleon’s tiny car and constant breaks for meals and vacations. But then we have the classic shots of newspapers to bring us up to date: “Slow News Week; Muppets Dominate Headlines” and we’re back in Muppet heaven.

Note: Be sure to get to the theater in time. There’s an adorable “Monsters University” short before the feature starts.

Parents should know that there is some bad behavior, a very brief scary skeleton and mild peril. Scenes in the gulag play dire prison conditions and treatment for comedy.

Family discussion: How could Nadya, Fozzie, and Walter tell the difference between Kermit and Constantine? Why didn’t anyone else figure out what was going on? Why did Constantine let the Muppets do whatever they wanted?

If you like this, try: The Muppet Show and their feature films

Need for Speed

Posted on March 13, 2014 at 6:00 pm

Important tip: If the word “speed” is in the title of the movie, don’t make it over two hours long. And especially, don’t make it feel even longer than that.

Clearly going for the “Fast and Furious” vibe with a side order of “Smokey and the Bandit,” “Need for Speed” tries to capitalize on the buzz around newly graduated “Breaking Bad” star Aaron Paul. But it has no idea of how to use him. Paul is a talented actor and an appealing performer but he is not up to the particular demands of a dumb chases and explosions movie. This is probably to his credit. Unfortunately, it is not to the movie’s. The cars are fast and pretty and the stunts are impressive. But when it comes to the script, it just spins its wheels.

Paul plays Tobey Marshall, a decent guy in financial trouble following the death of his father. He needs money to keep the family garage going, and the only way he can make it is by street racing. He and his wisecracking but devoted Benetton ad of a pit crew/posse/A Team are, of course, the best of the best, all wisecracking and womb to tomb and such. But Tobey tangles with arrogant professional race car driver Dino (a glowering Dominic Cooper), not just a racing rival but a romantic one as well. Dino is after Tobey’s former girlfriend, Anita (future “50 Shades of Gray” spankee Dakota Johnson), as much to spite Tobey, apparently, as for any feelings of affection or regard for Anita herself. Why she is with him, we never understand.

But then, there is not much in this movie that makes sense. It’s all about the races and chases and the very fancy cars that are 3/4 rocket and worth zillions of dollars. That would be fine, but first-time writer George Gatins keeps trying to put a story around the chases to make us more invested in the outcome and the details are just so dumb and inconsistent that it has the opposite effect. The script does to this movie what a blown tire does to a race car rounding the corner, and it ain’t pretty.

After a fatal accident, Dino frames Tobey, who goes to prison for manslaughter for two years. When he comes out, he really really really wants to beat Dino for the same reasons as before but more so. To recap: he is arrogant and mean, he was responsible for the accident and made Tobey take the rap, and that Anita thing is still going on, plus Tobey still needs money to buy the old garage out of foreclosure. It turns out there is — say it with me now — one really big race coming up. This is the ultra-secret, invitation-only race organized by eccentric rich guy and former racer Monarch (Michael Keaton, literally phoning it in). In order to get the car to the race, Tobey will have to drive it across the country in just 45 hours. And in order to get the car he needs, he will need to bring along snooty British car expert Frog, I mean Julia (Imogen Poots). He’ll need to get the band back together (actors who deserve better: hip-hop artist Scott Mescudi, better known as Kid Cudi, along with Rami Malek and Ramon Rodriguez). Mescudi plays a literal wing-man, stealing aircraft of one kind and another to let Tobey know where the cops are, and, since they are doing all of this on major streets and highways, where the traffic may present a problem.

It’s all hijinks and high spirits, but the romantic pairing never clicks and the banter is lifeless. As the crashes mount up, it becomes increasingly hard to overlook the carnage and carelessness of the characters we are supposed to be rooting for. There is still too much substance inherent in even the slightest of narratives that makes the crashing of a cop car more disturbing on screen than it might be in a game. The stunts are capably staged but some are taken from better movies — there are even references to “Bullitt” and “Speed” which just point up this one’s inferiority. The filmmakers have emphasized that the stunts here are real, not CGI, and the 3D effects are excellent. But the only speed you are likely to need is the fast switch to a better film.

Parents should know that this film includes a lot of reckless and illegal behavior and extended mayhem including many car crashes and explosions, characters injured and killed, some graphic and disturbing images, strong and crude language, and male rear nudity.

Family discussion: What made Tobey and his team so loyal to one another? What changed his mind about Julia? Which car was the coolest?

If you like this, try: the “Fast and Furious” series