Tag Archives: Bill Murray

Groundhog Day (1993)

10 Wednesday Apr 2019

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D: Harold Ramis / 101m

Cast: Bill Murray, Andie MacDowell, Chris Elliott, Stephen Tobolowsky, Brian Doyle-Murray, Marita Geraghty, Angela Paton

Although I have an All-Time Top 10 Movies list – one that has been carved in stone for a very long time now – and I’ve never been able to put together a Top 100, or even a Top 50, there are two movies that would sit comfortably at No 11 and No 12 on those lists – if they ever existed. No 11 will be reviewed later this month. This is No 12. It’s a wonderfully written movie, one that screenwriter Danny Rubin spent around three years working on before the movie was made. For me, the only comedy movie more quotable than Groundhog Day is Monty Python’s Life of Brian (1979). In that spirit, this “review” will be in the form of ten quotes that sum up the movie’s sweet-natured yet anarchic spirit. Something of a cheat, I hear you say? Perhaps, but when writing is this good, why not celebrate it? After all, “anything different is good.”

Psychiatrist: That’s an unusual problem, Mr. Connors. Uh, most of my work is with couples, families. I have an alcoholic now.

Phil: Ned, I would love to stay here and talk with you… but I’m not going to.

Rita: I like to see a man of advancing years throwing caution to the wind. It’s inspiring in a way.

Phil: You know, people like blood sausage, too. People are morons.

Phil: (Holding Phil the Groundhog behind the wheel) Don’t drive angry. Don’t drive angry!

Phil: This is one time where television really fails to capture the true excitement of a large squirrel predicting the weather.

Ned: Ned… Ryerson. “Needlenose Ned”? “Ned the Head”? C’mon, buddy. Case Western High. Ned Ryerson: I did the whistling belly-button trick at the high school talent show? Bing! Ned Ryerson: got the shingles real bad senior year, almost didn’t graduate? Bing, again. Ned Ryerson: I dated your sister Mary Pat a couple times until you told me not to anymore? Well?

Phil: (Driving down the railroad tracks toward an approaching train) I’m betting he’s going to swerve first.

Rita: You’re not a god. You can take my word for it; this is twelve years of Catholic school talking.

Phil: Do you ever have déjà vu, Mrs. Lancaster?
Mrs. Lancaster: I don’t think so, but I could check with the kitchen.

Rating: 9/10 – still the best time loop movie ever made, and one of the finest comedies period, Groundhog Day features terrific performances (Murray is superb as the jaundiced weatherman on a very steep learning curve), Ramis’s spirited direction, and again, Rubin’s wonderful screenplay; when a contemporary critic boldly states that “‘Groundhog’ will never be designated a national film treasure by the Library of Congress” – and that’s exactly what happens – then you know that it’s a movie that isn’t just another fluffy, high concept romantic comedy.

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The Jungle Book (2016)

20 Wednesday Apr 2016

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The Jungle Book

D: Jon Favreau / 105m

Cast: Neel Sethi, Bill Murray, Ben Kingsley, Idris Elba, Lupita Nyong’o, Scarlett Johansson, Giancarlo Esposito, Christopher Walken, Garry Shandling, Brighton Rose, Jon Favreau, Sam Raimi

The first of two live action versions of Rudyard Kipling’s classic tale – the other, just called Jungle Book and directed by Andy Serkis, is due in 2018 – Disney’s remake of their own beloved animated classic arrives with much fanfare and enough hype to stop even Shere Khan in his bloodthirsty tracks. It’s taken over $300 million at the international box office already, and the House of Mouse is keen to get director Jon Favreau and writer Justin Marks back for a sequel (surprise, surprise). The CGI environment created for the characters, and against which token human Mowgli (Sethi) interacts, is incredibly detailed and realistic, while the final showdown between tiger and man-cub is… well… it’s okay.

And that’s the problem with the movie as a whole: it’s okay. When the best thing you can say about a movie is that the backgrounds look realistic, then it’s a sure sign that whatever Favreau and co were aiming for, they didn’t actually achieve it. And yet the material is there to be taken advantage of, as Disney did nearly fifty years ago when they made the animated version. But this version makes some significant changes to the original, and while you don’t want an exact carbon copy of what went before, there’s too much that’s different for the movie to work as well as its predecessor.

TJB - scene2

First, there’s the musical elements. Shoehorned into the movie are two of the animated version’s most enjoyable songs, The Bare Necessities and I Wanna Be Like You. This isn’t a musical version of the story, and yet these two songs are included, and awkwardly at that. There’s no reason for them to be there, unless Disney felt that modern audiences, perhaps weaned on the animated version, would feel upset if they weren’t included. As it is, The Bare Necessities is given a nostalgic feel that helps offset the oddness of its inclusion, but the same can’t be said of I Wanna Be Like You, an uncomfortable rendition of which is given by Christopher Walken as King Louie, a giant orang-utan you half suspect has been eating his tribe in order to get so big. Some viewers may well be happy to see these songs included, but in terms of the movie itself they’re interruptions to the flow of the movie and the narrative.

But the flow of the movie is also a problem. Favreau is a capable director but he doesn’t always get the pace of a movie right – check out Iron Man 2 (2010) as a prime example. Here he connects each scene as if they were part of a larger puzzle and he’s got too much time to put it all together. This leads to stretches where The Jungle Book pads along like Shere Khan at the watering hole, full of intention but held back by an unwanted need for restraint. It makes for a choppy, uneven movie that holds the attention completely in certain scenes, but then abandons that attention in favour of just moving on.

TJB - scene3

And then there’s the ending, changed from the animated version – where Mowgli heads off to the man village because that’s where his future lies – to reflect… well, it’s not altogether clear. Mowgli has clearly found his true place in the jungle, but it’s at odds with what Shere Khan and even Bagheera have been saying all along: that Mowgli will grow up to be a man, and man has no place in the jungle (it’s even part of the jungle law, but the script ignores this practically the moment it’s been brought up). Back in 1968 this bittersweet ending was the perfect conclusion to Mowgli’s story, but here it seems like a cynical decision to help set up and ensure the sequel(s) that Disney are looking for. In a weird way, the script’s decision to integrate Mowgli more fully with the jungle environment makes him seem like another Tarzan in the making.

On the plus side, Favreau has assembled a great cast to give vocal life to the animal characters, with Murray on fine form as Baloo, and Johansson proving especially effective as Kaa. Kingsley is somewhat swamped by the script’s decision to make Bagheera almost entirely like a resigned schoolmaster, Nyong’o and Esposito make the most of their underwritten wolf parts, while Walken does his best to make King Louie frightening, but weirdly, sounds more like Kevin Spacey doing an impression of Christopher Walken than Walken himself. And then there’s Idris Elba, cast as Shere Khan; somehow his gruff tones don’t seem to suit the role, and his scenes have an awkwardness to them in terms of his voice not fitting the look of the character. In effect, it’s as if his voice has been badly dubbed.

TJB - scene1

As the only human in the movie, a lot rides on the abilities of Sethi, and while he’s certainly proficient, his performance isn’t as effective as it could be. In the scene where Mowgli decides to leave the jungle and go to the man village, his lack of experience leaves the scene feeling perfunctory rather than highly emotive, and you get the sense that Favreau was unable to get more from him. If Sethi is to take part in any further movies as Mowgli then it’s to be hoped that his experience this time round proves to be the bedrock for better performances in the future.

All in all, The Jungle Book isn’t a bad movie per se, it’s just that it doesn’t have that spark that would have made it a truly enjoyable movie. And despite its evident popularity with audiences worldwide, it’s likely that its success is due to brand recognition rather than any inherent quality. Remakes are a tricky business to get right, as any studio or production company should know, but with Disney – and it shouldn’t be the case – you somehow expect something a little bit better, and a little bit more entertaining. That it’s just okay is perhaps worse than its being just bad.

Rating: 5/10 – nowhere near the live action remake audiences really needed, The Jungle Book suffers from being too clinical and too respectful of itself (if not Kipling’s original tale); with too many moments that pass without emphasis or emotion, it remains a beautiful movie to watch, but an empty one as well.

Aloha (2015)

31 Monday Aug 2015

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Aloha

D: Cameron Crowe / 105m

Cast: Bradley Cooper, Emma Stone, Rachel McAdams, Bill Murray, John Krasinski, Danny McBride, Alec Baldwin, Bill Camp, Jaeden Lieberher, Danielle Rose Russell

After being injured in Afghanistan, Brian Gilcrest (Cooper) is invalided out of the Army and goes to work as a private defence contractor for billionaire Carson Welch (Murray). Welch is looking to consolidate two army posts in Hawaii and launch a telecoms satellite at the same time, having made a deal with the military. As his representative, Brian is tasked with seeking permission from the leader of the Nation of Hawaii for a blessing to be carried out on the site of the combined army bases’ new gate. Given a military liaison in the form of Allison Ng (Stone), Brian also has to contend with the presence of his ex-girlfriend, Tracy Woodside (McAdams). She has two children, twelve year old Grace (Russell) and younger son Mitch (Lieberher), and is married to pilot “Woody” Woodside (Krasinski).

Brian and Allison meet with the Hawaiian Nation’s leader and they reach an agreement about the blessing, but it’s as much to do with Allison’s presence as it is Brian’s. He begins to reassess her opinion of her, while fending off Tracy’s attempts to get him to talk about the reasons they broke up thirteen years ago. With the blessing assured, Welch lets Brian in on the details of the satellite launch, but when he accesses the USB stick he’s been given he finds the satellite has an extra payload that nobody has mentioned: a missile system. Brian is aware that what Welch is doing is illegal, but he feels a sense of obligation to him and keeps the information to himself, also knowing that he’s promised the Nation of Hawaii that the skies above their land won’t be populated with weaponry.

His relationship with Allison deepens, and they spend much of his remaining time together. But her quarter-Hawaiian heritage and belief in the myths and legends of the islands begins to play on his conscience. On the day of the launch however, Welch calls Brian urgently to the launch centre to deal with an attempt by Chinese hackers to access the satellite. With Allison next to him he sets about protecting the satellite, while also being aware that this is his only opportunity to stop Welch’s plans for the payload.

Aloha - scene

Cameron Crowe’s career has had its fair share of setbacks in recent years, with his movies failing to capture fully the early promise shown by Say Anything… (1989) and Singles (1992). Jerry Maguire (1996) was perhaps his most fully realised project, and Almost Famous perhaps the one he was most passionate about. But then he changed tack with the remake of Vanilla Sky (2001), a movie that defied even his and Tom Cruise’s talents to make interesting. Four years later he returned with Elizabethtown (2005), a movie that seemed to play to his strengths as a writer/director, but which was so unsure of itself that it ended up collapsing in on itself (and featured an awkward performance from Orlando Bloom). It was even longer before he directed another feature, the based-on-a-true-story tale We Bought a Zoo (2011), but it lacked that certain spark that would have elevated it above its TV movie of the week feel.

And so, after another break, Crowe is back with Aloha, another movie in which the main character is redeemed by the love of a good woman, while coming to terms with the mistakes of his past. It’s a simple movie, told in a straightforward style, with few stylistic flourishes, and features cosmetically interesting performances from Cooper and Stone. It’s a movie that doesn’t aim very high, and as a result feels tired and worn out from the start. It also features a raft of characters that are hard to care about – Brian, Tracy, “Woody” – or serve no useful purpose other than to give certain actors – McBride, Baldwin, Camp – another role to add to their CV’s. Only Stone and Murray make anything of the material, but that shouldn’t be regarded as anything other than a major achievement in the face of a script that Crowe appears not to have worked on beyond the first draft.

Crowe’s script is so uneven and rife with so many coincidences that after a while the viewer has no choice but to just go with the movie, knowing exactly where it’s going and with no sense that anything will be a surprise. There’s a subplot involving Tracy’s daughter that is signposted so clumsily that even a blind person could spot it, and Crowe doesn’t even try and throw some mystery onto the subject; it also leads to the most cringeworthy scene in the whole movie. But that’s not as bad as when Brian discovers the weapons payload on the satellite, another clumsy moment that smacks of Crowe’s desperate need to beef up the drama and give himself a final act (as if Brian dealing with Allison and Tracy wasn’t enough). And everything’s all wrapped up neatly by the end – only a bow is missing to complete the effect.

It’s sad to see a writer/director of Crowe’s talent waste his time on something so unexceptional and bland. That he still has a certain caché is good, but the anticipation for Aloha that was garnered by the trailer has been soundly trampled on, leaving only Baldwin’s description of Cooper as “Mr Sexy Pants” as one of the few things to look forward to. Perhaps next time, Crowe will direct someone else’s script, or work with someone who’ll be able to strengthen his ideas and material. Either way, if he’s in the same two seats again as writer and director, then the anticipation might not be as great as it was on this occasion.

Rating: 4/10 – dull, uninspired, and lacking any degree of charm to help offset the tedium of the narrative, Aloha arrives looking like a new, shiny dollar, but leaves looking like a battered nickel; Crowe misjudges almost everything, and only the technical credits warrant any merit, making the movie inviting to look at, but sadly hollow upon closer inspection.

St. Vincent (2014)

22 Saturday Nov 2014

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St. Vincent

D: Theodore Melfi / 102m

Cast: Bill Murray, Melissa McCarthy, Naomi Watts, Jaeden Lieberher, Chris O’Dowd, Terrence Howard, Kimberly Quinn, Donna Mitchell, Dario Barosso

Vincent McKenna (Murray) is the kind of curmudgeonly old man it’s best to steer clear of. He drinks to excess, gambles too much, and is about as sociable as a dose of the clap; in short, he’s the kind of you’d cross the street to avoid. When new neighbours Maggie (McCarthy) and her son Oliver (Lieberher) move in next door, relations are initially frosty as the removals van causes damage to Vincent’s car. On Oliver’s first day at his new school he falls foul of bully Ocinski (Barosso) and has his keys, wallet and phone stolen. He manages to get home but with his mother at work and no other way of getting in, he calls on Vincent to use his phone to call his mother. Vincent isn’t best pleased but agrees nevertheless and Oliver stays with him until Maggie can get home from work – but not before he’s agreed a babysitting rate with her.

The money is important as Vincent’s terrible luck at gambling has left him very short of money. He can’t get a loan from the bank, he owes too much money to loan shark Zucko (Howard), and he’s behind on payments to the care home that looks after his wife Sandy (Mitchell). With Maggie working late more and more, he and Oliver spend more and more time together. Vincent teaches Oliver to defend himself from bullies such as Ocinski, and takes him to the race track where Oliver learns how to bet. He also bonds with the old man, becoming the only friend Vincent really has, unless you count pregnant stripper Daka (Watts), who has a fondness for the old man that she plays down at every opportunity.

When Vincent and Oliver win big at the race track, it’s potentially the beginning of a big change in Vincent’s life, but he still avoids paying Zucko. Meanwhile, Maggie’s husband begins a custody battle for Oliver, leading to an awkward court appearance where the depth of her son’s relationship with Vincent is revealed, and with less than perfect consequences. And matters are made worse when Zucko pays Vincent a surprise visit at home.

St. Vincent - scene

If you’re looking to make a movie where the main character is a caustic, mean-spirited, emotionally withdrawn malcontent, well, in the words of one of his earlier movies, “Who ya gonna call?” The obvious answer is Bill Murray, the one actor who does “grumpy” better than anyone else on the planet, and for whom the art of being a killjoy seems like second nature. He’s the perfect choice to play Vincent, and it’s a good job writer/director Melfi was able to get him to commit to the movie because without him, St. Vincent may not have turned out to be as enjoyable as it actually is.

It’s a particular kind of actor who can pull off such a deceptively difficult role, for while Vincent is outwardly abrasive, there’s a grudging kindness and likeability buried below the surface that is reserved for the people he cares about. As he becomes more and more enamoured of Oliver and Maggie, it’s good to see that the script doesn’t do the one thing that most movies of this kind do without fail: have the main character renounce his mordant ways and become more agreeable. Here, Vincent remains unlikeable to pretty much everyone for the entire movie, allowing Murray to paint a convincing portrait of a man continually at war with a world that kicks the rug out from under him at nearly every opportunity. His antipathy towards the world is entirely understandable, but it’s his willingness to let some people in, while retaining that antipathy, that saves the character from being entirely one note.

Murray grabs the character of Vincent and gives the kind of assured, entirely believable performance that only he can pull off, making the old man by turns acerbically funny, justly melancholy, disappointingly selfish, and unsurprisingly reticent. It’s a virtuoso performance, one that lifts the movie up and out of the rut of its less than original plotting and straightforward storylines. Aside from a couple of instances that don’t turn out in just the way the viewer might expect – the result of the custody hearing, the outcome of Zucko’s home visit – Melfi, making his feature debut as writer/director, has assembled an old-fashioned drama with over-familiar characters we’ve all seen at least a dozen times before, added the kind of spiteful humour that modern audiences appreciate, and has made his movie seem fresh and unconventional.

He’s also procured a raft of excellent performances, and not just from Murray. Leaving behind the forced hilarity of movies such as The Heat (2013) and Tammy (2014), McCarthy excels as Oliver’s mother, playing her with an honesty and put-upon vulnerability that works effectively against Murray’s obnoxious grouch. Watts is equally as good as the pregnant Daka, her hard-boiled exterior the perfect foil for Vincent’s ingrained irascibility; when they spar it’s like watching an old married couple, and the fondness that builds up in such a relationship. Howard, sadly, has little to do but appear menacing in a couple of scenes, and O’Dowd works his magic as Oliver’s home room teacher, a priest with very relaxed ideas about prayer. But the real revelation here is Lieberher as Oliver – like Melfi, making his feature debut – giving the role a delicate, yet simple touch that dispels the idea early on that Oliver is going to be one of those precious and precocious kids that Hollywood is so fond of putting on screen. He’s a natural, comfortable with his dialogue and able to hold his own with Murray (it really feels like he’s been doing this for a lot longer).

With its deft one-liners and subtle nuances, Melfi’s script makes the occasional stumble – Zucko disappears completely after he visits Vincent, Oliver and Ocinski become friends a little too easily (you’ll understand why when you see the movie), and the sub-plot involving Vincent’s wife adds little to the mix – but all in all this is a solid, hugely enjoyable movie that features some terrific performances, a great score by Theodore Shapiro, and enough charm to melt a dozen icebergs.

Rating: 8/10 – a great first feature from Melfi – who’s now one to watch out for – St. Vincent is a breath of fresh air, and rarely puts a foot wrong with its main characters; Murray carries the movie with ease, and the movie’s indie sensibility isn’t allowed to overwhelm the material, making for a very good time to be had by all.

The Monuments Men (2014)

21 Friday Feb 2014

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Monuments Men, The

D: George Clooney / 118m

Cast: George Clooney, Matt Damon, Bill Murray, Cate Blanchett, John Goodman, Jean Dujardin, Hugh Bonneville, Bob Balaban, Dimitri Leonidas, Justus von Dohnányi, Holger Handtke

When you see the phrase “Based on a true story” at the beginning of a movie, there’s an expectation that what you’re about to see really happened, and in the way that it’s portrayed.  But the key word is “based”.  The word serves as a get-out clause for filmmakers the world over, so that when anyone criticises a movie for its accuracy they can say it’s not meant to be taken as a de facto retelling of events but as an interpretation.

With The Monuments Men, actor/director and co-scripter Clooney has taken a relatively unknown tale from World War II and – forgive the clumsy analogy – used broad brush strokes to bring it to the screen.  Playing Frank Stokes, we first see him in 1943 canvassing President Roosevelt about the importance of finding and safeguarding the huge amount of art that the Nazis are plundering across Europe, as well as asking for the military’s cooperation in avoiding unnecessary damage to important historical buildings and monuments.  Asked by Roosevelt how many men he needs, Stokes tells him six.

The six men are Americans James Granger (Damon), Richard Campbell (Miurray), Walter Garfield (Goodman), and Preston Savitz (Balaban), plus Brit Donald Jeffries (Bonneville), and Frenchman Jean Claude Clermont (Dujardin).  All six have the skills and the experience Stokes needs to identify, trace and recover the stolen art, and two pieces in particular: Michelangelo’s Madonna of Bruges and Jan van Eyck’s Ghent Altarpiece.  Splitting up to cover as much ground as possible the men set about tracing various treasures and seeking the cooperation necessary to avoid the continued ruinous bombing of buildings such as Monte Cassino.  In this respect, and despite clear orders from Roosevelt, they find themselves rebuffed at every turn.  They have better luck tracing the routes the Nazis are using to hide everything, but they still always seem to be one step behind.

In Paris, Granger is put in touch with Claire Simone (Blanchett).  She has a detailed list of all the artwork and treasures that were stolen by the Nazis in Paris, as well as who they belonged to and where they were to be taken.  Using this list, Stokes and co are able to discover the locations the Nazis chose to hide everything.  With the war now drawing to a close they face a race against time to reach the treasures before the approaching Russians.

Monuments Men, The - scene

The story of the Monuments Men and their achievements makes for a thrilling read but on screen it’s a different matter.  Clooney and co-scripter (and long-time collaborator) Grant Heslov have fashioned a story from the facts that has all the hallmarks of a rush job.  Character development is perfunctory and relies on the actors to fill in the gaps by using established traits: Dujardin flashes the winning smile seen in The Artist, Murray rehashes his bucolic approach to Lost in Translation, and Goodman continues to play the same role he’s played for the last ten years.  In a way it’s a clever approach, a kind of cinematic shorthand to help introduce the characters quickly and then get on with things, but other than the fact that these men all knew (or knew of) each other before coming together, we don’t really get to know them.  As Stokes, Clooney takes a back seat, giving himself a couple of rousing, authoritative speeches, and generally directing traffic – that’s not a criticism, there is an awful lot of poring over maps and working out which direction to take.  Damon and Blanchett struggle to make her initial distrust of Granger credible, while Bonneville’s turn as the plucky Brit using the mission to overcome his drink problem, though one of the (slightly) better performances, is undermined when you realise his drink problem isn’t going to reoccur and jeopardise things.

The movie also jumps about quite a bit as it attempts to cover both time and distance.  The events shown take place between 1943 and the end of the war.  Some scenes, particularly Garfield and Clermont’s encounter with a sniper, seem included for no other reason than they might prove exciting, but this rarely works out.  Clooney tries to instil a sense of urgency, but the timescale defeats him every time.  Even towards the end with the Russians right around the corner and the Madonna of Bruges to be rescued, there’s just no excitement to be had.  And when the team are put in harm’s way, it’s hard to be concerned because a) you don’t care enough them (see previous paragraph) and Clooney’s direction doesn’t stretch itself enough to provide any tension.

What you have then is a strangely flat movie that never really takes off but which, thanks to both the art and Phedon Papamichael’s wonderful photography, looks good and is handsomely mounted.  Clooney does have a good eye for composition, and he uses the camera to good effect throughout but by the end it’s not enough to distract from the disappointment that will have already been felt.  There’s also some misguided humour, along with a few too many one-liners (there are times when the movie skirts perilously close to coming across as a kind of Ocean’s Seven).  One moment, though, that does deserve a mention: Campbell, having received a recording from his daughter, hears it played over the camp tannoy system while in the shower.  As his tears mingle with the water from the shower, it’s an instance of emotional beauty in amongst all that glorious art.

Rating: 6/10 – a missed opportunity, too lacking in focus and without a cohesive script; a great story that will hopefully be revisited at a later date.