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The Upside (2017)

13 Sunday Jan 2019

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D: Neil Burger / 126m

Cast: Kevin Hart, Bryan Cranston, Nicole Kidman, Aja Naomi King, Jahi Di’Allo Winston, Golshifteh Farahani, Genevieve Angelson, Tate Donovan, Julianna Margulies

Parolee Dell Scott (Hart) is fresh out of prison and trying his best (which isn’t much) to avoid going straight back in. Tasked with finding a job as quickly as possible by his parole officer, Dell attends what he thinks is an interview for a cleaning job. The number of waiting applicants surprises him, but when time drags on and he’s in danger of not picking up his son, Anthony (Winston), from school on time, he crashes the interviews in order to get a signature to say that he’s attended. But the job proves to be a life auxiliary for ex-businessman Phillip Lacasse (Cranston), who is paralysed from the neck down. Against the better wishes of Phillip’s associate, Yvonne (Kidman), Phillip takes to Dell’s unconventional attitude, and decices to hire him. Unsure at first, Dell’s decision is made for him thanks to a row with his wife, Latrice (King), over his inability to properly provide for her and Anthony. Realising that being a carer for Phillip could solve a lot of his problems, Dell accepts the job, but soon finds that he’s not quite as prepared for it as he thought…

The third remake of the French movie Intouchables (2011), The Upside reaches us long after its first screening at the Toronto International Film Festival in September 2017. Caught up in the scandal involving Harvey Weinstein, the movie’s planned release in March 2018 was shelved until it was picked up for distribution by STX Entertainment and Lantern Entertainment (the successor to the Weinstein Company). Now the only question is: was it worth the wait? Sadly, the answer is, not really. This is a movie that is almost entirely depth-free, and dramatically inert. It’s a standard Hollywood interpretation of the kind of feelgood story that comes along every now and then and which, thanks to its sincerity and innate positivity, tugs at the heartstrings. But as usual in Hollywood, this kind of narrative can’t be allowed to exist in and of itself; it has to be treated with a level of over-simplification that five year olds would find frustrating, and slathered with enough gooey sentimentality to induce Type 2 diabetes in the unsuspecting viewer. There’s often a formula to these kinds of stories, but the best versions try their best to wrest something new from the material. Here the formula is embraced wholeheartedly… and then some.

This leaves the viewer with two choices: to either go with the flow and settle for spending an occasionally amusing, occasionally effective couple of hours that will leave them unmoved, or to rail against every predictable plot and story development for being so obvious. Either will involve a tremendous amount of effort on the viewer’s part, and neither will see them coming away singing the movie’s praises. For despite the chemistry between Hart and Cranston, and their performances – which at least stop the material from becoming too sappy – this is very much a movie that coasts for most of its running time, and which struggles to find anything to say. Burger does what he can, but someone really should have stepped in at the first draft stage and told screenwriter Jon Hartmere that a by-the-numbers approach wasn’t what was needed (though you do get the feeling that’s exactly what the producers wanted). Cranston is good value as always, and Hart, trying to broaden his range, is okay, but he doesn’t do anything to make us think that there’s a serious actor inside him who’s desperately seeking the dramatic limelight. And then there’s Kidman, on something of a role at the moment, but so under-utilised it’s hard to work out why she said yes. Like much about this movie, her presence begs a secondary question: was it worth the effort?

Rating: 5/10 – though its leads work well together, and there are some good comedic moments in amongst the otherwise routine material, The Upside is, unfortunately, a movie that doesn’t live up to its title; with issues around disability, class and race carefully ignored in favour of making this purely a feelgood movie, even the obligatory falling out between Dell and Phillip feels as manufactured as everything else.

All the Way (2016)

14 Wednesday Mar 2018

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D: Jay Roach / 132m

Cast: Bryan Cranston, Anthony Mackie, Melissa Leo, Frank Langella, Bradley Whitford, Stephen Root, Todd Weeks, Ray Wise, Ken Jenkins, Dohn Norwood, Mo McRae, Marque Richardson, Aisha Hinds, Joe Morton

In the wake of the assassination of John F. Kennedy in November 1963, newly sworn in (and ex-Vice) President Lyndon B. Johnson (Cranston) referred to himself as the “accidental President”. Kennedy’s death and Johnson’s sudden ascent to the highest position in US politics may have come as a shock, but Johnson was a firm believer in the ideals and policies of his predecessor in the White House. The Civil Rights Bill was one such ideal, and one of Johnson’s earliest statements to the Press confirmed his intention to have the Bill passed into law within the coming year. Inevitably, Johnson encountered opposition to his plan, but from within his own party, the Democrats. Political factions in the South tried to stop the Bill from being passed. Even Johnson’s mentor, Richard Russell Jr (Langella), worked against him, while Johnson sought support from Martin Luther King Jr (Mackie). Through a series of political manoeuvrings and confrontations, Johnson succeeded in getting the bill passed, even after removing a critical section that would have enabled blacks to have voting rights. But then there was the small matter of campaigning to be elected President…

Adapted by Robert Schenkkan from his original play of the same name, All the Way covers that fateful first year in the wake of Kennedy’s death. It’s an absorbing, deftly handled movie that packs in a lot of exposition while also finding time to explore the character and the personality of a President who, outside of the US at least, isn’t as well known as some of his predecessors and successors. Johnson was President at a pivotal time in American history, and by focusing on his first year in office, the movie shows just how dedicated he was to making huge social and political changes happen. And thanks to the combination of Schenkkan’s skill as a writer, and Cranston’s skill as an actor, the complexity of the man is brought vividly to life. Johnson the President is shown as tough, determined, and something of a bully. Johnson the man is shown as being wracked by doubt, and insecurity. Cranston gives possibly his finest performance as LBJ, inhabiting the role to such an extent that it’s easy to forget that it’s Cranston at all (though he is helped by a superb makeup job).

As well as depicting the various sides to Johnson, Schenkkan and director Jay Roach take care to flesh out the supporting characters, and ensure they’re not there just to give LBJ someone to square off with. As MLK, Mackie is patient and implacable, pushing LBJ to do what’s right, while Leo offers dignified and persuasive support as Johnson’s wife, Lady Bird. Langella is equally good as the experienced politician who finds himself outwitted by his protegé (and feels betrayed by him), and there’s further sterling support from Whitford (as future Vice President Hubert Humphrey), Root (as J. Edgar Hoover), and Weeks (as Walter Jenkins, LBJ’s top aide). Roach keeps things fairly simple, though there are moments where the political ramifications of certain decisions may confound viewers not up to speed on the issues of the time (and despite Schenkkan’s best efforts). However, this is compelling stuff that begins slowly and gradually builds up speed as it heads toward Election Night in November 1964. If there is one issue, though, that the movie itself never overcomes, it’s the flatness of Jim Denault’s cinematography. This may be a TV movie, but there are times when the image feels lifeless and looks unappealing. A little more sheen would have made this as impressive to watch as its content.

Rating: 8/10 – a history lesson that’s often as moving as it is educational, All the Way benefits from Roach’s assured direction, Schenkkan’s fascinating exploration of LBJ’s first year as President, and a standout turn by Cranston as the man himself; in shining a spotlight on a tumultuous period in 60’s American politics, it serves as a potent reminder of what can happen when a good man has his hand firmly on the wheel of change.

Last Flag Flying (2017)

27 Wednesday Dec 2017

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D: Richard Linklater / 123m

Cast: Bryan Cranston, Laurence Fishburne, Steve Carell, J. Quinton Johnson, Yul Vazquez, Deanna Reed-Foster, Cicely Tyson

A man walks into a bar… From this inauspicious beginning, writer/director Richard Linklater provides us with another unmissable movie that bristles with humour and thoughtfully constructed drama, and which introduces us to three of the most fully rounded characters you’ll meet all year (and in one movie to boot). Adapted from the novel of the same name by Darryl Ponicsan, this is a loose sequel to Ponicsan’s The Last Detail (1973) (which he also wrote the screenplay for), and features three ex-Marines, all former friends who have lost touch since coming home from Vietnam. There’s Sal (Cranston), a bar owner, Larry aka “Doc” (Carell), who still works in a civilian capacity for the Navy, and Mueller (Fishburne), who has since become a pastor. Larry is the man who walks into a bar, in order to ask for Sal’s help with something. They travel to the Mueller’s home, where Larry reveals that he would like the three of them to go to Washington. The reason? Larry’s son has recently been killed while on duty in Iraq. His body is on its way home to be buried in Arlington cemetery, and Larry would like his two old friends to help him.

And so begins a road trip that sees Larry defer much of what happens to Sal and the Mueller, animosities long forgotten dusted off and trotted out, the trio encountering insensitive bureaucracy, the Mueller being mistaken for a terrorist, some detours along the way, and their friendships withstanding the test of both time and their being together again after so long. The script also reflects on matters of grief, regret, guilt, doing the right thing, and persevering through emotional and physical anguish. It’s a movie with many layers, all dovetailing neatly together, and providing one of the most affecting experiences of 2017. Linklater and Ponicsan have made a movie that is about the basic humanity in all of us, and how it brings out the best in us, even when we’re not sure if what we’re doing is the right thing. All along, Larry believes that what he is doing is what is appropriate and correct. At first he’s happy for his son, Larry Jr, to be buried at Arlington; after all, he’s been told his son died a hero in a skirmish with insurgents. But when the truth is revealed, his feelings change. And when he’s confronted with a different point of view, his feelings are challenged and his point of view shifts again. The clever thing is, at no point is Larry wrong about how he feels or what decisions he makes.

If it’s a simple statement to make – that Life isn’t always simple or easy – it’s still an important one. Linklater and Ponicsan are on point here, and the way in which Larry’s deliberations affect both him and his friends infuses much of the interplay between the three characters. For much of the movie, Larry is reticent and appearing to be in a world all his own, as he might well be. Sal is the motor mouth, always ready to challenge authority, politics, religion, anything that he disagrees with (and there isn’t much that he doesn’t disagree with), while the Mueller, actually called Richard, is a mix of the two, thoughtful and contemplative thanks to his religious beliefs but also forthright and aggressive when he feels he needs to be. You can see how they would have been friends in Vietnam, and how they emerged from that period to become the people they are now. Their experiences back then are used to inform the characters they’ve become, and thanks to three very gifted performances, spending time with them is an absolute pleasure.

Cranston has the more showy role, talking non-stop, Sal getting the three friends into trouble deliberately or without even trying, but always making him sympathetic, someone you can see is just trying to do their best in any given situation. The actor is on rare form here, judging the mercurial aspects of the role perfectly, and also showing a more reflective side to Sal that helps make the broader tones of his portrayal that much more believable. Fishburne is, in some ways, our way in to the characters, his quiet, brooding presence more reactive than passive, and despite the Mueller’s continued reluctance to be making this extended trip (nothing quite goes according to plan – as you might expect). It’s a role that also serves to remind us of what a terrific actor Fishburne is when given the right script, the right character, and he’s encouraged by the right director. And then there’s Carell as the distant, heartbroken Larry, his emotions pushed and pulled in opposing directions, and never quite sure if he’s in the moment or merely watching it all from a distance. Like his co-stars’ it’s a perfectly pitched performance, sincere, honest and entirely credible, and when his feelings do break through, all those tempered emotions mentioned before – grief, guilt etc – come flooding through and it’s almost overwhelming, for him and for the viewer.

Of course, this being a Richard Linklater movie, it’s not all doom and gloom or a completely depressing drama. The movie is infused with a dark, satirical kind of humour that offsets the heavy lifting the script does elsewhere. Sal provides much of the verbal comedy, his quick-fire retorts and pithy observations leavening the serious nature of the material, while there are a handful of visual gags, usually juxtapositions, that pop up here and there to good effect. And then there is a scene in the baggage car of a train where reminiscences and regrets come together to form one of the movie’s most engaging and humorous moments. Line by line, and minute by minute, this is the part of the movie that highlights the true spirit of friendship that exists between the three friends, and which is perhaps one of the funniest scenes you’ll see all year (even if you don’t see this until 2018). It’s also a point in the movie that is very much needed in terms of lightening the load, and it’s perfectly executed by all concerned.

That said, there a few caveats to be made, mostly in the form of certain scenes that prove superfluous, such as one involving Yul Vazquez’s oily, dislikeable Colonel where he vents his anger at the lack of respect shown to him by Sal in particular, and a side trip to visit the mother of a fellow Marine whose death wasn’t as heroic as she believes. This is one of the movie’s main thrusts, whether the truth should be told on every occasion or are there times when a lie is justified. Quite rightly, the movie errs on the side of “depending on the situation”, but it’s a valid question and one that is ripe for debate within the movie’s own context. And the movie ends on a sentimental note that, while providing Larry with a sense of closure, is at odds with the ambiguous nature of much of the material in relation to his son’s burial. It doesn’t quite ruin the movie – it would take something much more momentous than that – but as a way to finish things off feels more contrived than anything else seen or heard up to that point.

Rating: 8/10 – some judicious trimming would have made this a 9/10 easily, but this is still a terrific movie that deserves to be seen by as many people as possible; with humour, poignancy, wonderful performances, and often beautiful cinematography from Shane F. Kelly, Last Flag Flying tackles its themes with intelligence and wit and style and huge amounts of unashamed humanity, making this another Richard Linklater movie that steals both our hearts and our minds.

Mini-Review: Why Him? (2016)

25 Saturday Mar 2017

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D: John Hamburg / 111m

Cast: Bryan Cranston, James Franco, Megan Mullally, Zoey Deutch, Griffin Gluck, Keegan-Michael Key, Cedric the Entertainer, Zack Pearlman, Adam Devine, Kaley Cuoco

It’s any father’s nightmare: that the daughter he adores meets a man that she adores but whom the father hates. Such is the case in Why Him?, where Bryan Cranston’s struggling businessman dad, Ned Fleming (he owns a printing company), and his wife, Barb (Mullally) are invited to meet their daughter’s new boyfriend. Their daughter, Stephanie (Deutch), has kept quiet about her new boyfriend, Laird Mayhew (Franco), but as it’s Xmas, she thinks it’s a good idea for everyone to start getting to know each other. But Laird, who owns a video game company and is very, very successful, is also a bit of a loose cannon. He swears a lot, behaves inappropriately, appears to have few or no filters at all, and spends his money seemingly at random and on random things.

Despite his efforts to impress Ned, Laird doesn’t make it easy for himself, and soon learns that Ned doesn’t trust him. Furthermore, when Laird asks for Ned’s blessing so he can propose to Stephanie, the answer is an emphatic No. Laird is persistent, though, and tells Ned that by the time it’s Xmas Day (three days later), he will have won over Ned, and he’ll have his blessing. Ned thinks that is highly unlikely. A wager is made, and Laird does his best to get Ned to like him, but it’s not so easy, and the road to mutual respect is littered with the best of intentions, a few misunderstandings, and the appearance of two real-life rock stars.

However you look at it, Why Him? is a reasonably funny, yet also stupidly awful comedy that relies on its very talented cast to get itself out of quite a few holes (plot- and otherwise). It’s also an awkward mix of culture and generational clashes that rely heavily on clichés and predictable responses from both Ned and Laird as it chugs steadily along the path of least dramatic resistance in its need to be as heartfelt as it is puerile. This is the movie’s biggest flaw: it wants to be humorously crude and shocking in the same fashion as, say, some of Franco’s other recent work (that is, as bluntly as possible), and yet it also wants to be warm-hearted and decent. In the end, decent wins out, but there’s always the feeling that writer/director Hamburg and his screenwriting cohort Ian Helfer didn’t actually know at first which way things were going to work out.

But the movie has a trump card in the form of its casting, with Cranston playing the uptight dad to perfection, and providing the equally perfect foil to Franco’s crass, whacko video game designer. Mullally, who some may remember as the self-serving über-bitch Karen from TV’s Will & Grace, is kept largely in the background but then excels in an hilarious scene where she attempts to seduce Cranston while completely drunk. Deutch does well as the movie’s nominal “straight man”, and Gluck combines the best attributes of both Cranston and Franco’s characters as Stephanie’s younger brother, Scotty. But as is so often the case, it’s one of the supporting characters who proves the most effective. Step forward Keegan-Michael Key as Gustav, Laird’s estate manager who also doubles as this movie’s version of Cato from the Pink Panther series. The movie steps up a notch every time he appears, and if there has to be a spin-off, then Why Gustav? might not be such a bad idea.

Rating: 6/10 – not as obvious or objectionable as it appears to be, Why Him? struggles to maintain a consistent tone throughout, but has a good success rate when it comes to providing big laughs; good performances help paper over some very rough cracks indeed, but overall it’s an enjoyable movie that often tries too hard in its efforts to be edgy, and which doesn’t always seem able to rein itself in for the better.

The Infiltrator (2016)

04 Saturday Feb 2017

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infiltrator

D: Brad Furman / 127m

Cast: Bryan Cranston, Diane Kruger, John Leguizamo, Benjamin Bratt, Juliet Aubrey, Yul Vazquez, Elena Anaya, Rubén Ochandiano, Simón Andreu, Joseph Gilgun, Juan Cely, Art Malik, Saïd Taghmaoui, Amy Ryan, Jason Isaacs, Olympia Dukakis, Michael Paré

Number four hundred and twenty-nine in what feels like 2016’s never-ending list of true stories – or movies based on true stories – The Infiltrator is a throwback to the kind of crime dramas made in the Seventies, with the main character going undercover  and putting their life on the line in order to expose the mob boss/cartel leader/fiendish criminal mastermind who has so far remained untouchable. Here the main character is Robert ‘Bobby’ Mazur, a veteran US Customs special agent nearing retirement, but who takes on one more undercover case when another agent, Emir Abreu (Leguizamo), asks for his help. Abreu’s case involves an informant (Cely) with ties to a Colombian drug cartel, and the aim, at first, is to follow the drug trail from America back to Colombia and catch the cartel leaders red-handed. But Mazur has a better idea: instead of following the drugs, why not follow the money?

Assuming an alias, Bob Musella, Mazur poses as a businessman who can launder the cartel’s money through the companies he owns, effectively making it clean and untraceable. He and Abreu are put in contact with a couple of the cartel’s men (Ochandiano, Andreu), who in turn introduce them to Javier Espina (Vazquez), a high-level enforcer whose job it is is to assess whether or not Musella can be trusted, and his claims for the cartel’s money are true. Reassured that they are, Espina gives the go ahead for Musella to start laundering the cartel’s money, but when Mazur is put in a compromising situation with a lap dancer – he’s happily married with two children – he invents a fiancée to get himself out of it. Mazur’s boss, Bonni Tischler (Ryan), is less than happy with this, but arranges for a female agent, Kathy Ertz (Kruger), to step into the role.

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With his “credentials” proving satisfactory, Mazur cites a problem with the way the cartel currently moves its money as an excuse for meeting with the person who runs it all. This leads him to both the Bank of Credit and Commerce International, which will help him launder larger quantities of the cartel’s money than he can make look legal, and the acquaintance of Roberto Alcaino (Bratt), whose role is to facilitate both the movement of the cartel’s money and the distribution of its drug shipments through an entry point in Miami. Alcaino welcomes Mazur and Ertz into his home, and they become friendly with both him and his wife, Gloria (Anaya). Using a tape recorder hidden in a briefcase, Mazur is able to gain evidence on all the parties concerned, but needs just one more thing to happen before he can have everyone arrested: the release of funds belonging to Pablo Escobar which the US government has frozen. Without these funds, Escobar, who is the head of the cartel, will not commit to using Mazur exclusively, and the undercover work he’s done will only cause so much damage.

In the hands of director Brad Furman and screenwriter Ellen Sue Brown (Furman’s wife), Robert Mazur’s tale of deception and intrigue becomes a tale of patience and deferment for the audience, as any likely tension or nail-biting moments are kept to a minimum, and Mazur’s scam on the cartel moves along slowly and relentlessly to its expected denouement. Along the way, there are lots of scenes where Mazur as Musella insists on doing things his way and the cartel almost meekly agrees. His cover remains intact throughout, as does Ertz’s, and only Espina suspects they’re not who they say they are. At this point, the viewer will be grateful for something going wrong, as up til now it’s all gone along too smoothly (it may well have been this way, but it doesn’t make for compelling viewing). But not for long; Espina’s potential threat is removed before it’s even had time to get going, and the viewer is left wondering if anything is ever going to upset Mazur’s carefully balanced apple cart.

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The movie also struggles to maintain a consistent focus, with subplots that come and go without advancing the main narrative, and scenes surrounding Mazur’s home life that feel tacked on and derivative. His wife, Evelyn (Aubrey), is supportive of his work even though she wishes he’d retired when he could have, but is inexplicably jealous of Ertz and their fake relationship (she even asks Ertz if she’s sleeping with him). Elsewhere, Mazur is followed by someone who turns out to be a CIA agent, but you have to be paying attention to the end credits to learn why. And both Mazur and Ertz appear to bond with Alcaino and his wife to the point where they feel sympathy for them. These and other aspects of what should be a fairly straightforward storyline may well be meant to add depth and complexity to proceedings, but instead they only show just how bland that storyline really is.

As for the performances, Cranston plays Mazur with a great deal of charm (and a quite impressive wig), but we never really get to know him as a person. He’s good at his job, but we don’t know what motivates him to be so good, or what makes him so effective as an undercover agent. Kruger comes on board halfway through and her character’s (quickly ignored) inexperience proves a good foil for Cranston’s taciturn dedication, though viewers may well be surprised by the number of times they hug. Leguizamo offers good value for the viewer’s time (as always), portraying Abreu as a thrill-hungry agent with an attitude to match; whenever he’s on screen the movie livens up a little. As a second tier kingpin, Bratt exudes a glossy menace that is much more effective for being delivered with a reluctance born out of long experience of the life he leads, while from the supporting cast, Dukakis has a ball as Mazur’s aunt, Vazquez is unnerving as the camp yet deadly Espina, and Aubrey expresses more in a look than seems entirely feasible.

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With its slow but steady pacing and attention to period detail, the movie doesn’t lack for sincerity, but it doesn’t quite know how to pick up the pace when it’s needed. Furman concentrates on explaining how the cartel’s money can be laundered, but it’s exposition that only needs confirming once, whereas it’s explained on at least four separate occasions. There are twists and turns here and there, some entirely predictable, others less so but lacking in impact. And there’s one scene, in a restaurant involving an unlucky waiter and an anniversary – no, birthday – cake that appears out of nowhere (and context) and tries to make Mazur something he’s not: a hardass.

With so many angles to cover, and not all of them as effective as needed, The Infiltrator relies more and more on Cranston to pull it through the weeds, but it’s an uphill struggle even for him. With Leguizamo given less and less to do thanks to Kruger’s involvement, and her role almost entirely (and deliberately) superficial at times, it’s only Bratt’s urbane take on Alcaino that keeps the final third interesting. It’s all given a rosy patina of sophistication by DoP Joshua Reis, though, and the movie benefits greatly from the way in which Furman uses composition to establish mood. But this particular tale eschews mood too often for it to work as a tense, engaging thriller, and in doing so, manages to downplay the enormity of Mazur’s achievement. And when it comes, it comes at a wedding that looks like it’s been put together for a reality TV show rather than a Customs Office sting operation.

Rating: 6/10 – moderately absorbing, yet banal in execution, The Infiltrator suffers from being too much on an even keel, and not loosening up in its approach at telling Robert Mazur’s amazing story; Cranston is a pleasure to watch, even if you think Mazur was inordinately lucky in what he did, and he keeps things from disintegrating too quickly, leaving a movie that wants to be topical (despite being set in the late Eighties), but lacks the modern day relevance that could be assigned to it.

Get a Job (2016)

27 Sunday Mar 2016

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Get a Job

D: Dylan Kidd / 83m

Cast: Miles Teller, Anna Kendrick, Bryan Cranston, Nicholas Braun, Brandon T. Jackson, Christopher Mintz-Plasse, Marcia Gay Harden, Alison Brie, Jay Pharaoh, Bruce Davison, Cameron Richardson, Greg Germann, Jorge Garcia, John C. McGinley, Seth Morris, John Cho

Be yourself. The movies are always telling us to be ourselves. If we do that then the world is our oyster, and we can achieve anything. But what if your name is Miles Teller? What if, back in 2014 you appeared in a movie called Whiplash, and right at that moment when the world was your oyster and you were on the brink of achieving anything, what would you do next? Would you capitalise on the recognition you’ve received as a dramatic actor and use it to land bigger, better roles? Or would you continue making comedies (romantic and straightforward), or would you try something a little different?

Since Whiplash, Teller’s cinematic output has been patchy at best. He’s appeared in all three Divergent movies (albeit in a supporting role), a romantic comedy, Two Night Stand (2014), an out-and-out comedy, That Awkward Moment (2014), and some superhero movie it’s best not to talk about. Later this year he’ll be back on funny man duties with Jonah Hill in War Dogs. It won’t be until either much later this year or in 2017 that we’ll see Teller in serious mode again. In the meantime, we have another comedy to wade through, the sporadically amusing Get a Job, a movie that feels like the kind of project Teller should have been making at the start of his career.

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He plays Will Davis, recently graduated and with a job at a local newspaper. His specialty is video reviews, but he’s soon fired thanks to cutbacks. Looking around for a job that suits him he ends up working for a recruitment firm that specialises in making video CVs for professionals looking to make an impression on potential employers. Meanwhile his father, Roger (Cranston) also finds himself out of a job after thirty years. He quickly identifies an ideal job for his skills, but he can’t get to the one man who has the power to say yes or no, the fabled decision maker. And while the Davis men face a variety of obstacles both in and out of work, Will’s friends – stoner Charlie (Braun), commodities broker Luke (Jackson), and sleazy app designer Ethan (Mintz-Plasse) – have similar problems navigating the choppy waters of employment. And then Will’s girlfriend, Jillian (Kendrick), also loses her job.

Right from the movie’s start it’s clear that the script by Kyle Pennekamp and Scott Turpel isn’t going to be as tightly constructed or relevant to today’s modern day job market as it may have intended, and actually that’s okay. Get a Job is a piece of fluff, an inconsequential movie whose message – be yourself, remember? – floats on the surface of its semi-humorous approach to job-seeking. It’s a movie to be watched when there’s nothing better on, or when you need to switch off your brain and let a movie just wash over you. And thanks to Messrs Pennekamp and Turpel, along with the movie’s director, that’s exactly what you get.

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But even inconsequential movies need to entertain, and Get a Job drops the ball too often to succeed. Three things we’re meant to find funny: Will taking dexedrine in order to work late(!) and behaving manically; Luke being coerced into drinking deer sperm to get ahead at work; and Ethan’s pervy iStalkYou app, that lets the user find someone even if they don’t want to be. With these and many more uneven attempts at provoking laughter, the movie is in constant search of a consistent comedic tone, and while there are some occasions when it’s successful, it does so against the odds. Teller and Kendrick are old hands at this sort of thing but even they can’t drag the material out of the rut it imposes on itself. The only cast member who seems to have the measure of things is Cranston; next to everyone else his is the only character whose situation you can sympathise with, and whose performance is actually enjoyable.

And like a lot of modern comedies, the viewer isn’t invited to like the characters in the movie, or even get to know them. They all have prescribed character arcs, and they all face challenges that are meant to show they can grow and be responsible as they take on adult roles. And although there is a definite “be yourself” vibe, and one that the movie maintains throughout, ultimately it’s done in such a conservative way that the message is worthless. Like so many other movies of its ilk, what Get a Job is really saying is be yourself for a while but only until regular society says it’s time to put that behind you, and be like everyone else. (American movies celebrate the individual with such persuasion.)

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The movie also falls back on too many tried and trusted scenarios to be fresh enough to work (ironically). Will has a boss, Katherine (Harden), who proves to be a ballbuster, but a fortunate discovery redresses the balance; Jillian won’t smoke from a bong – until the script decides she has to; Charlie appears to have no clue about being a teacher but he turns out to be inspirational; and Will’s early encounter with a pimp (Pharaoh) proves to be the most important working connection he ever makes. The performances, with many of the cast treading water (and with Teller and Kendrick proving the main offenders), are adequate without being memorable, and many scenes fall flat as a result.

Overseeing everything, Kidd doesn’t seem able to add any panache to proceedings, leaving the movie to coast along in its own wake, or run aground when the script loses momentum. However, there is one moment where the movie makes a relevant observation: when Jillian tells Will she’s been let go she mentions that she’s ninety thousand dollars in debt, no doubt a reference to the student loans she took out in order to get through college and/or university. It’s a throwaway comment, but it’s a better angle for a movie than the one used here.

Rating: 5/10 – the kind of movie that looks as if it’s a contractual obligation for all concerned, Get a Job could be retitled Get a Grip, or Get a Move On, or even Get a Life, such are the various ways it approaches its basic storyline; formulaic and only mildly amusing, it’s a movie that doesn’t really try too hard, but when it does, the extra effort doesn’t add up to much.

Trailers – The Shallows (2016), All the Way (2016) and Too Late (2015)

23 Wednesday Mar 2016

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Forty-one years after we all thought it was safe to go back into the water, and despite movies such as the Jaws sequels, Open Water (2003), and The Reef (2010), it’s time to really crank up the terror and put Carcharodon carcharias back where he belongs: prowling the waters and looking for people to munch on. Or in this case, a person to munch on, as Blake Lively’s unfortunate surfer finds herself trapped two hundred yards from shore, injured, and with the least friendliest denizen of the deep idly swimming about between her and safety. Anthony Jaswinski’s screenplay was on the 2014 Blacklist, and has been picked up by Jaume Collet-Saura – Orphan (2009), Run All Night (2015) – so there’s every chance that this will have aquaphobics everywhere repeating “It’s only a movie” over and over.

 

American politics in the Sixties was dominated by one issue: racial equality. But what few people remember is that the Civil Rights Bill was passed during Lyndon B. Johnson’s time in office, and that he was more instrumental in getting the Bill through Congress than you’d expect. All the Way is an adaptation of the Tony award winning play by Robert Schenkkan that also starred Bryan Cranston as LBJ, and which reunites Cranston with his Trumbo (2015) director, Jay Roach. So, in essence another biopic set against the backdrop of turbulent political times in America. But with the prospect of a certain wild-haired businessman sitting in the White House in nine months’ time, this may well serve as a timely reminder that what a country really needs in a leader is the will to do what’s right, and not what his party thinks is right.

 

In Dennis Hauck’s first feature, John Hawkes is the world weary private eye tasked with finding a missing woman in this modern day film noir that consists of five “acts”, all of which have been filmed in a single take. What may seem like an awkward way of presenting a traditional kind of Hollywood movie looks to have been overcome by the cleverness of the script and the freshness of the direction, and the presence of a terrific cast, headed by one of current cinema’s best character actors. With the investigation taking a back seat to the effects on the characters involved, this should be quirky and rewarding, and prove to be one of those movies that rewards the lucky viewer who seeks it out.

Mini-Review: Kung Fu Panda 3 (2016)

11 Friday Mar 2016

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Kung Fu Panda 3

D: Jennifer Yuh Nelson, Alessandro Carloni / 95m

Cast: Jack Black, Bryan Cranston, Dustin Hoffman, Angelina Jolie, J.K. Simmons, Seth Rogen, James Hong, Lucy Liu, David Cross, Jackie Chan, Kate Hudson, Randall Duk Kim

In the Spirit World, Master Oogway (Kim) has his chi stolen from him by the villainous Kai (Simmons). With Oogway’s chi and those of the other denizens of the Spirit World, Kai can regain his human form and seek out the only warrior who can defeat him, the Dragon Warrior, aka Po the panda (Black). Meanwhile, Po has his own problems. Master Shifu (Hoffman) has given him the role of teaching the Famous Five, and subsequently he meets his real father, Li (Cranston). When Kai sends his emissaries to challenge Po, the Famous Five intervene but aren’t strong enough to defeat them; one by one they have their chi’s taken from them. Only Po has the strength and skill to best Kai, but first he must travel with his father to the village of his birth, and take instruction in how to become a Chi master; only then will he be able to defeat Kai and banish him back to the Spirit World.

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Sequels with 3 in the title are often tired, limited affairs that trade on former glories while lacking the energy and freshness of their predecessors. However, Kung Fu Panda 3 bucks the trend and delivers a movie that is as energetic as 1 and 2, and proves to be just as entertaining. The kung fu moves are as impressive as ever, and the animated stylings that go with them are particularly exciting, especially in the Spirit World, where physics is a concept that’s easily ignored. In the real world, Po’s dilemma at discovering his real father after being raised so faithfully by Mr Ling (Hong) is played out amidst a strong mix of comedy and pathos, and the depiction of the panda village is bursting with wonderful characters and visual humour.

Kai is a villain in the mold of the first movie’s Tai Lung, and as a result is the movie’s weakest link, but Simmons is obviously having fun with the role (as is everyone else), and in comparison with the rest of the story, the character’s familiarity is not a major flaw. The burgeoning relationship between Po and Li is a definite bonus and has been handled well by scriptwriters Jonathan Aibel and Glenn Berger, their inclusion of Mr Ling doing justice to the relationship established in parts one and two. The visuals are as stunning as ever, and the colours have a photo-realistic sheen to them that haven’t been seen in previous outings, making it all the more superb than before.

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Rating: 8/10 – a treat for the eyes (and as rewarding for the mind), Kung Fu Panda 3 is something of a retread of the first movie but in this case, it’s not a bad thing; with a superb voice cast and stunning animation throughout, this sequel proves that putting a lot of heart and soul into a movie pays off every time.

Trumbo (2015)

19 Tuesday Jan 2016

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Trumbo

D: Jay Roach / 124m

Cast: Bryan Cranston, Diane Lane, Elle Fanning, Helen Mirren, John Goodman, Michael Stuhlbarg, Louis C.K., David James Elliott, Roger Bart, Adewale Akinnuoye-Agbaje, Dean O’Gorman, Christian Berkel, Stephen Root, Alan Tudyk, John Getz

Anyone with a passing interest in the history of Hollywood will probably have heard of the Hollywood Ten, a group of screenwriters and directors who were cited for contempt of Congress for refusing to state their affiliation (if any) with the Communist Party. They stood up for their First Amendment rights only to find that the government wasn’t listening; as a result they were fined and given prison sentences ranging from six months to a year. Hollywood exacted a further penalty: none of the ten would be allowed to work in the industry and their names would be added to the Blacklist, a list of actors, writers, directors and other industry professionals who were regarded as communists and traitors to the American way of life.

This ignominious period in American political and entertainment history is the backdrop for Trumbo, a look at the life and experiences of one of the Hollywood Ten, and the ways in which he managed to subvert the Blacklist. Beginning in 1947, the movie charts the attempts by the Hollywood establishment to fall into line with the political manoeuvrings of people such as stockbroker and US Representative J. Parnell Thomas, and to not appear out of step with the paranoia of the time. Against this, screenwriter Dalton Trumbo (Cranston) tries to marshal his “comrades” in an effort to rebut the accusations made against them, and with the likes of Edward G. Robinson (Stuhlbarg) in support, prepares to defy Congress and to refuse to cooperate at the hearings.

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The movie shows how some of the Ten, including Arlen Hird (Louis C.K.) – a character created to represent several of the original members – have their doubts about this course of action, but they are persuaded by Trumbo, and their time before Congress leads to the ruination of their careers. Matters are made worse when supporters such as Robinson give their names to the enquiry, and the extent of the Blacklist begins to be felt once their gaol terms are completed. Hird becomes ill, while Trumbo does his best to support him. Still needing to write, Trumbo writes a screenplay that he gives to his friend Ian McLellan Hunter (Tudyk) to sell to the studios. The script is bought by Paramount and the movie made from it, Roman Holiday (1953), goes on to win an Oscar for its screenplay.

The irony isn’t lost on Trumbo, and when he’s approached by King Brothers Productions, headed by Frank King (Goodman), to produce screenplays for them (under pseudonyms of course), he jumps at the chance. However, a combination of King’s demand for scripts and Trumbo’s own exhausting work ethic leads to an estrangement from the rest of his family: wife Cleo (Lane), eldest daughter Nikola (Fanning), son Chris, and youngest daughter Mitzi. He ropes them in to be his support team, delivering scripts and rewrites whenever needed and refusing to see that they have their own lives to lead. In time, they begin to rebel against his dictatorial attitude.

As rumours of Trumbo’s involvement with King Brothers begins to spread throughout Hollywood, efforts are made by columnist Hedda Hopper (Mirren) to expose him. The release of The Brave One (1956) with a script by Robert Rich (in reality Trumbo), adds fuel to the fire, especially when it too wins an Academy Award for its screenplay. With Trumbo’s profile becoming even more pronounced than it was before the Blacklist, he finds himself working for both Kirk Douglas (O’Gorman) (on Spartacus) and Otto Preminger (Berkel) (on Exodus). Both men are willing to ignore the Blacklist and give Trumbo screen credit, but not before they have to deal with the possibility of anti-Communist boycotts of their movies and widespread industry disapproval.

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In recounting Trumbo’s story, Jay Roach’s movie plays very much like every other Hollywood biopic you’ve ever seen. It moves at a steady pace, ticks all the important boxes when recounting/explaining the motives of the House Committee on Un-American Activities, shows how deeply the Blacklist affected the lives of its victims, and recounts Trumbo’s subsequent attempts to remain gainfully employed in the town that had turned its back on him. In short, it sticks to a very traditional formula and rarely strays from it, even down to the idea that Trumbo would have befriended a black fellow inmate in prison (Akinnuoye-Agbaje) (an example of his pro-egalitarian approach to people and politics). It’s only when see him at home, bashing out screenplay after screenplay, that the movie offers us something different from the standard notion of a writer struggling to maintain his career. Here, Trumbo is shown to be a bit of a monster – indifferent to his wife, dismissive of his children, and so self-absorbed he can’t see the damage he’s doing.

But like a lot of things that happen in the movie, this self-absorption and bad behaviour is easily remedied, and then it’s on to the next hurdle. For this is what Trumbo the movie is comprised of: a series of hurdles for the writer to clear. Sometimes he does so with inches of room to spare, at other times he knocks them down on his way to the finish line, and occasionally he doesn’t even realise the hurdles are even there. And he does it all with wit and panache and a fondness for the odd bon mot. For someone dealing with the issues that Trumbo had to deal with – and his pseudonym dependency issues aside – his movie incarnation never really seems to be affected by what’s happening around him. Sure he’s outraged, and sure he’s angry at the injustice of it all, but all too often the movie makes it sound like it’s all just a big intellectual challenge for him, and one that he can easily outmanoeuvre.

As the screenwriter who did some of his best work in the bathtub, Cranston gives a rasping, eloquent portrayal of a man who never loses sight of his principles, even when everyone around him is either trying to deny they exist, or castigate him for having them. It’s an award-worthy performance but one that lives or dies on Cranston’s likeability in the role, and it’s good that he is very likeable. But then so is everyone else, even the “villains” like Mirren’s vicious Hedda Hopper; there’s no one you really take exception to. In this sense, John McNamara’s screenplay becomes all surface sheen and lightweight drama, with none of the varied emotions that must have been felt by all concerned at the time.

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By arriving with an air of detachment (whether deliberate or not), and an ironic detachment at that, Roach has crafted a movie that is effortlessly watchable but which falls short of being compelling. We follow Trumbo on his journey from celebrated Hollywood screenwriter to… well, celebrated Hollywood screenwriter via a couple of detours, and though we know it probably was rough, that doesn’t come across. Still the performances are a large measure of the fun to be had (Mirren, Goodman and Stuhlbarg each bring their A-game), and the period setting gives Daniel Orlandi a chance to shine in the Costume Design department. One aspect that does work? The inclusion of archival footage from the HUAC hearings, a salient reminder that people like Ronald Reagan were quick to distance themselves from their friends and colleagues under the threat of censure. What times they were, and what a shame that Trumbo isn’t quite the movie to show us just how bad they were.

Rating: 7/10 – full of unrealised potential, Trumbo is an easy watch when it should have been more engrossing and, in terms of the political witch hunt that occurred at the time, able to invoke the viewer’s ire with ease; Cranston is on fine form and he heads a more than capable cast but this has to be filed under “missed opportunity”.

Godzilla (2014)

20 Tuesday May 2014

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godzilla_485dca15

D: Gareth Edwards / 123m

Cast: Aaron Taylor-Johnson, Ken Watanabe, Elizabeth Olsen, Bryan Cranston, Sally Hawkins, David Strathairn, Victor Rasuk, Carson Bolde, Juliette Binoche

Opening with a montage of grainy black and white footage from the Fifties that reveals the real reason for all those atomic bomb detonations in the Pacific – Bikini Atoll et al – the movie fast forwards to 1999 and the discovery in The Philippines of a massive skeleton and two egg sacs, one of which bears the signs of a recent hatching. At the same time, the Janjira nuclear plant in Japan is experiencing a series of seismic anomalies that has plant supervisor Joe Brody (Cranston) worried that these anomalies may cause damage to the plant. While his wife Sandra (Binoche) investigates below ground, there is a reactor breach and the plant is destroyed.

Fifteen years on, the site of the Janjira plant is still a quarantine area.  Joe’s son Ford (Taylor-Johnson), now living in San Francisco with wife Elle (Olsen) and young son Sam (Bolde), receives a call telling him that Joe has been arrested for trespassing in the quarantined area. Ford travels to Japan to find out what his father is up to. They go back to the Janjira plant and are promptly arrested. They are taken to a secret facility within the plant where a chrysalis containing the creature that destroyed the plant is being studied by scientists Ishiro Serizawa (Watanabe) and Vivienne Graham (Hawkins). The chrysalis hatches, releasing a massive winged monster that devastates the facility before flying off. Ford, Serizawa and Graham join an American-led mission to track the monster, which is heading for Hawaii.

In Hawaii, the creature – known as a MUTO (Massive Unidentified Terrestrial Organism) – is discovered feeding on the reactor of a Russian submarine. The military attack the MUTO but it proves too much for them. Godzilla arrives to battle the MUTO but it flees. Serizawa sees the creature is headed toward the US and realises it’s trying to reach its mate, the inhabitant of the other egg sac from The Philippines, and which has been housed in a secure nuclear waste repository in Nevada. This MUTO, the female, hatches and begins heading towards the coast (but not before laying waste to Las Vegas). Serizawa is afraid the two MUTOs are making their way to each other with the intention of breeding… and if his calculations are correct, they’ll meet in San Francisco.

The military comes up with a plan to destroy the MUTOs using a more-powerful-than-usual nuclear weapon (basically two nuclear warheads strapped together). Ford goes along with the team assigned to getting it offshore far enough that it will destroy the creatures but cause minimal damage to the coastal region, but the female MUTO wrecks the train it’s being transported on and eats one of the warheads. The other is saved and flown to San Francisco. The two MUTOs meet there and capture the remaining warhead, which the female uses to build a nest for her offspring. Godzilla arrives to battle the MUTOs. While they’re distracted, Ford destroys the nest and regains the warhead, but it’s damaged and he can’t disarm it. He gets it to a boat and heads out to sea in the hope of getting far enough before it explodes. Meanwhile, Godzilla battles the MUTOs…

Godzilla (2014) - scene

One of the most eagerly awaited movies of 2014, Godzilla arrives trailing a ton of hype and pre-release fervour, but sad to say this is a major disappointment. The story is nonsensical and at almost every turn throws up a WTF? moment. There are inconsistencies galore, some of the worst dialogue so far this year, a sad waste of a more than capable cast, an incredible lack of tension or threat throughout, and the usual reliance on mass destruction to provide any thrills.  Here are just ten reasons why Godzilla doesn’t work:

1 – The characters are paper-thin and serve no purpose other than to mouth expository dialogue of the “This must mean…” variety.

2 – The cast are required to do little more than gawp and gasp at the destruction going on around them. Seriously, why employ actors such as Juliette Binoche (who had to be persuaded to take part), Sally Hawkins and David Strathairn if you’re going to give them so little to do?

3 – Inconsistency No. 1: Godzilla’s arrival in Hawaii causes a tsunami, but not when he arrives in San Francisco (perhaps the budget didn’t stretch to two such sequences).

4 – Ford has a son who isn’t put in jeopardy once; instead the writers have Ford save some random Asian-American kid when the train they’re on is attacked by one of the MUTOs (plus having Ford save his own son would have added some much needed emotional resonance to the drama).

5 – Elle is seen escaping from the destruction of San Francisco, but at no point is she in any peril; in fact she survives unscathed. What was the point of showing this (other than to give Elizabeth Olsen something more to do than make phone calls and look worried a lot)?

6 – Ford is introduced as an adult as an explosive ordnance disposal officer (and a lieutenant at that), but this skill is never utilised (it’s his relationship with his dad and his dad’s data that keeps him along for the ride).

7 – The MUTOs, even though they are supposed to be MASSIVE, seem able to appear and disappear at will.

8 – The MUTOs are attracted by nuclear radiation but the male MUTO, the one that hatches at Janjira, doesn’t stop to munch on the rest of Japan’s nuclear plants (there’s nearly fifty of them). Is MUTO love really that strong a call?

9 – How many times do the same buildings have to be destroyed in San Francisco before anyone is supposed to notice?

10 – Inconsistency No. 2: Why, if the MUTOs are supposed to have migrated towards the earth’s core for their radiation fix, is one found so close to the surface in The Philippines (and what has sustained the egg sacs)?

11 – And why was the Russian nuclear submarine found perched in the trees (on a mountainside) in Hawaii when it was earlier reported as missing at sea?

Yes, that was eleven reasons instead of ten but that just goes to show how lazy the screenwriters – all five of them! – were in assembling this narrative mess. It’s sad when a project that’s been in development for as long as this one has, falls at the first hurdle because the filmmakers couldn’t spot the problems inherent in the script (though with five writers having worked on it, maybe they did). And while this is a Godzilla movie, and what we’re looking for is some outstanding monster-on-monster action, does the rest of the movie have to be so bad? Well, the answer seems to be yes. And because the filmmakers have opted for a slow-build, let’s-keep-Godzilla-hidden approach, the effect of all this underwhelming drama is that the audience are soon praying for things to hurry up so they can get to the big showdown without lapsing into complete slack-jawed lethargy.

Once all three monsters reach San Francisco the movie does pick up, and the battle between them goes a long way toward redeeming things, though there’s still far too much cutting away to see what the human characters are up to (as if we care by now). There’s also a slightly corny moment where Ford and Godzilla share a look, but it’s the one misstep in a section where the filmmakers do get it right. And we get to witness Godzilla’s famous nuclear breath, something that will have fans cheering in their seats.

So, it’s not all bad, and the visuals (as expected) are often stunning to behold. The much-touted HALO drop is still eerily effective despite the long-term exposure given it in the trailers and the movie’s print ads, and the scenes of devastation are effectively rendered (as expected). The MUTOs have a realistic-looking solidity about them (even if they look like second cousins to the kaiju from Pacific Rim), and Godzilla himself is a leaner, meaner looking version of himself (though the problem of scale is still an issue – he’s taller in some scenes and shorter in others depending on the background). Monster-wrangling for the second time, director Gareth Edwards shows his obvious empathy for the material and despite its limitations, rescues large chunks of it from the mangler. He has a visual style and flair that is reminiscent of early Spielberg, and he has a firm grasp on how to stage the final showdown, paying special attention to the framing and using the most effective camera angles. There’s a kinetic energy to these scenes that is lacking in the rest of the movie, but it does add up to a more satisfying conclusion.

Rating: 4/10 – woeful for the most part, and just plain horrible to sit through at others, Godzilla lurches on to the big screen like the big, lumbering beast he was in the Fifties and Sixties (though minus the saggy underbelly); embarrassing to watch at times, and with no clear idea of what to do for the first ninety minutes, the movie is only slightly better than Roland Emmerich’s 1998 version, and is saved by the panache of its final showdown.

 

Seeing Other People (2004)

31 Friday Jan 2014

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Seeing Other People

D: Wally Wolodarsky / 90m

Cast: Jay Mohr, Julianne Nicholson, Josh Charles, Andy Richter, Lauren Graham, Bryan Cranston, Matthew Davis, Helen Slater

Seeing Other People begins with Ed (Mohr) and Alice (Nicholson) head over heels in love and recently engaged.  Everything is going well… until Alice spies one of her friends having sex with a waiter at their engagement party.  This leads to Alice wondering if her relationship with Ed would be stronger if they were able to sleep with other people before they get married, in a kind of “let’s get it out of our systems” kind of way.  Alice also believes that she has missed out on a wider range of sexual experiences, and feels a little disadvantaged.  Ed is initially reluctant but agrees to go ahead with Alice’s plan, and they both begin to date other people.

At first, it all goes smoothly, with Alice seeing, but not sleeping with, Donald (Davis), and Ed also finding it difficult to actually have sex with someone else.  Their own sex life improves as a result, but soon Alice’s intimacy with Donald becomes a wedge that drives them apart.  Alice and Ed’s growing estrangement has a knock-on effect on Alice’s sister, Claire (Graham) and her husband, Peter (Cranston). Both unhappy with their marriage, they begin to search for their own fulfilment, using Ed and Alice’s example as either a guide or a warning of how to proceed.  Meanwhile, Alice and Ed’s friend, Carl (Richter) is so lovelorn he doesn’t believe he will ever find the woman of his dreams.  It’s only when he meets Penelope (Slater) that he begins to believe otherwise.  What follows for all is a somewhat bittersweet look at the perils of getting what you wish for.

Seeing Other People - scene

Seeing Other People starts off well, and once you get past the basic implausibility of the idea that two committed people would deflect to such a course of action – and the scene in which Alice convinces Ed her plan will work struggles to maintain a real sense of “this could happen” – there’s a certain amount of fun in trying to work out how things will progress, and what the eventual outcome will be.  Partly this is because the script by husband and wife team Wolodarsky and Maya Forbes shies away from the standard rom-com tropes and tries hard to make the situations its leading characters find themselves in as difficult to extract themselves from as possible.  It also creates an environment where the way each character expresses him- or herself is rarely pain-free, but is equally humorous at the same time.  This is a difficult juggling act, and Wolodarksy gets it right most of the time (he also contributes a funny cameo as a pushy salesman).

He’s helped by an enthusiastic cast led by Mohr and Nicholson.  Mohr has a boyish vulnerability that is pushed to the fore here, while Nicholson’s gamine appearance underscores Alice’s naïve willingness to put her relationship with Ed in jeopardy.  The supporting cast shine too, with Graham and Cranston on great form as a warring couple whose dislike of each other borders on the pathological.  On a warmer front, the developing relationship between Carl and Penelope is handled sweetly without it becoming too saccharine.

On the production side, the photography by Mark Doering-Powell matches the main characters’ moods throughout, while the music – the usual mix of contemporary songs and original score – highlights each prevailing mood to good effect.  Wolodarsky directs with a great eye for the foibles of modern relationships, and manages his cast, and the material, with aplomb.

Rating: 7/10 – an adroit romantic drama that overcomes the absurdity of its central premise by focusing instead on the pros and cons of getting what you want… and regretting it; well-acted and with a script that heads off predictability with ease.

Originally posted on thedullwoodexperiment website.