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thedullwoodexperiment

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Tag Archives: Seth Rogen

The Disaster Artist (2017)

27 Monday Nov 2017

Posted by dullwood68 in Movies

≈ 5 Comments

Tags

Comedy, Dave Franco, Drama, Greg Sestero, James Franco, Literary adaptation, Review, Seth Rogen, The Room (2003), Tommy Wiseau, True story

D: James Franco / 103m

Cast: Dave Franco, James Franco, Alison Brie, Seth Rogen, Ari Graynor, Paul Scheer, Josh Hutcherson, Jacki Weaver, Zac Efron, Jason Mantzoukas, Hannibal Buress, Nathan Fielder, Megan Mullally, Sharon Stone, Melanie Griffith, Bryan Cranston

Every now and then a movie comes along that defies both its own creation and its own inherent drawbacks to achieve cult status amongst movie fans. Instead of disappearing into obscurity, perhaps never to be seen again (or only in the early hours of the morning on channels such as Movies 4 Men when they haven’t got a poorly dubbed spaghetti western to show) some movies take on a life and a reputation all their own, and succeed against – or in spite of – all the odds. One such movie is The Room (2003), written, produced, directed by and starring Tommy Wiseau. Generally regarded as one of the worst movies ever made, and critically lambasted on its initial release, The Room plays regularly at midnight showings throughout the US, and has the kind of dedicated fans who dress up like their favourite characters and throw items at the screen at relevant moments. Think The Rocky Horror Picture Show (1975), but without the wit or the ingenuity (or indeed, the songs).

Wiseau made the movie with and for his friend, Greg Sestero, who eventually wrote about his experiences being Wiseau’s best friend, and making The Room, in a book called, The Disaster Artist: My Life Inside The Room, the Greatest Bad Film Ever Made. And now we have an adaptation of that book, and a recreation of the making of the movie, that is both entertaining and irresistible. In the hands of James Franco, The Disaster Artist is a fresh, appealing movie that looks at the dangers of following your dreams, and how those dreams can become the source of bitterness and disappointment. It’s a movie that works on a number of levels, and thanks to a perceptive screenplay by Scott Neustadter and Michael H. Weber, it’s a fully rounded piece that embraces drama, comedy, and darker facets of both in its tale of deluded ambition.

The movie begins in 1998, with Tommy (James Franco) and Greg (Dave Franco) meeting at acting classes and forming a strange, unorthodox friendship. Tommy is secretive and elusive, making out that he’s from New Orleans when he clearly has an Eastern European accent, and insisting that he’s the same age as Greg when clearly he’s much older. There’s also the matter of his being independently wealthy. Where does his money come from? Nobody knows. They move to Los Angeles, where they both try to break into Hollywood. Greg quickly gains an agent (Stone) but finds his career stalling just as quickly. Tommy remains unemployable as an actor, but can’t understand why. All he sees is his talent going unrecognised. Eventually they decide to make a movie on their own, a movie that will star Tommy and Greg and make their fortune. Tommy writes the script, and in 2002, production begins. And what a production it proves to be…

This being a good movie about the making of a bad movie, it’s tempting to wonder just how accurate this movie is in recreating the details of the production itself. There are moments of pure comedy, such as shooting Tommy’s first scene (“What is line?”), or the awkward mechanics of a sex scene (“Why is he having sex with her belly button? He knows where her vagina is, right?”), but there are also much darker moments when Tommy behaves like a dictator and riles the crew with his indifference and misplaced anger. It’s at these moments that Tommy is shown as a selfish, manipulative child, and none more so than when he refuses to let Greg have a day off to appear in an episode of Malcolm in the Middle (and at the request of Bryan Cranston himself). Tommy’s jealous intransigence casts a sallow light on his behaviour and his character, but it’s a measure of both the script and Franco’s performance that Tommy remains a figure to pity rather than be angry with.

What comes across is the importance of his friendship with Greg and the determination to make the movie he wants to make. When challenged about his on-set behaviour, Tommy cites Hitchcock and Kubrick as directors who didn’t care about their actors, but without realising that they had talent to make up for their callow attitudes. At every turn, Tommy doesn’t understand anything about what he’s doing, and he can’t see that the decisions he’s making are undermining almost everything that he’s trying to do. Everyone around him sees this, but Tommy’s insecurity won’t let him acknowledge it. He’s a lonely man looking for approbation, and though his friendship with Greg goes some way to meeting his emotional needs, it’s a much wider appreciation that he’s searching for. And the movie makes it clear that this is the dream he really has; the movie is just a means to that end. Franco nails the accent, and Wiseau’s own off-centre thought processes, and gives one of his best performances: at times sad, defensive, jealous – of Greg’s relationship with girlfriend, Amber (Brie) – antic, effusive, melodramatic, and emotionally shallow.

He’s matched by an intuitive and likeable portrayal of Greg by his younger brother, and there are plenty of enjoyable supporting performances, including Rogen as the script supervisor who becomes the de facto director when Tommy is “acting”, and Graynor as the female lead who possesses the aforementioned “belly button”. Elsewhere there are plenty of cameos and talking heads (at the beginning) to keep viewers on their toes, but it’s the recreation of those hectic days when The Room was being shot that proves the most compelling, and Franco the director assembles it all with an eye for the absurdity of it all and the misguided passion that pushed Wiseau to make the movie in the first place. An auteur’s folly, then, but one that has survived and prospered over the years, and which has afforded Wiseau exactly what he wanted: recognition. But as The Disaster Artist proves, passion without talent is just passion, and dreams often require luck as well as a determination to succeed.

Rating: 8/10 – a wonderfully bizarre tale given the kind of respectful treatment that only highlights how unlikely it all was at the time, The Disaster Artist doesn’t need anyone to see The Room before watching it, as the off-camera turmoil is captured with aplomb by Franco and his cast and crew; a testament to the power of friendship (and pinky swears), as well as not giving up on your dreams, this is also a cautionary tale about what can happen when ambition becomes obsession, and the pursuit of fame turns everything (temporarily) sour.

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Neighbors 2: Sorority Rising (2016)

06 Tuesday Sep 2016

Posted by dullwood68 in Movies

≈ 2 Comments

Tags

Bad Neighbours 2, Chloë Grace Moretz, Comedy, Kappa Nu, Neighbours, Nicholas Stoller, Review, Rose Byrne, Sequel, Seth Rogen, Sorority, Zac Efron

neighbors-2

aka Bad Neighbours 2

D: Nicholas Stoller / 92m

Cast: Seth Rogen, Zac Efron, Rose Byrne, Chloë Grace Moretz, Ike Barinholtz, Kiersey Clemons, Beanie Feldstein, Dave Franco, Jerrod Carmichael, Christopher Mintz-Plasse, Elise Vargas, Zoey Vargas, John Early, Hannibal Buress, Selena Gomez, Kelsey Grammer, Lisa Kudrow

Meh (see also Mechanic: Resurrection and Bastille Day).

Rating: 3/10 – a disastrous sequel that should be subtitled The Movie Laughs Forgot, Neighbors 2: Sorority Rising is another “comedy” that barely succeeds in raising a smile, let alone any genuine outbursts of laughter; a lame retread of the original, the cast sleepwalk through their roles, the script allows for long stretches of tedium, Stoller appears to have been on holiday for the whole of shooting, and any chance of a good time is dismissed from the off, leaving the audience to wonder how on earth this was made in the first place.

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Mini-Review: Kung Fu Panda 3 (2016)

11 Friday Mar 2016

Posted by dullwood68 in Movies

≈ 1 Comment

Tags

Alessandro Carloni, Angelina Jolie, Bryan Cranston, Chi, China, Comedy, Dragon Warrior, Dustin Hoffman, Famous Five, J.K. Simmons, Jack Black, Jennifer Yuh Nelson, Kai, Master Shifu, Po, Praying Mantis, Review, Sequel, Seth Rogen, Spirit Warrior, Spirit World, Tiger

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.

KFP3 - scene1

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.

KFP3 - scene2

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.

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Steve Jobs (2015)

21 Thursday Jan 2016

Posted by dullwood68 in Movies

≈ Leave a comment

Tags

1984, 1988, 1998, Aaron Sorkin, Apple, Biography, Black cube, Computers, Computing, Danny Boyle, Drama, Father/daughter relationship, History, iMac, Jeff Daniels, Kate Winslet, Literary adaptation, Macintosh, Michael Fassbender, NeXT, Product launches, Review, Seth Rogen, True story

Steve Jobs

D: Danny Boyle / 122m

Cast: Michael Fassbender, Kate Winslet, Seth Rogen, Jeff Daniels, Michael Stuhlbarg, Katherine Waterston, Ripley Sobo, Makenzie Moss, Perla Haney-Jardine, Sarah Snook, John Ortiz

Steve Jobs – maverick genius, arrogant manipulator, or indifferent human being? In Danny Boyle’s latest movie we get to learn that the late founder and CEO of Apple was all three, which shouldn’t be a surprise as each description isn’t exclusive of itself. But where Aaron Sorkin’s script, adapted from Walter Isaacson’s book, impresses most is when we see Jobs being all three at the same time.

The structure of the movie allows us to see Jobs at three separate points in his life, and each time in the immediate lead up to a product launch. So in 1984 we see him trying to launch the Macintosh, Apple’s first new product in seven years since the Apple II. In 1988 he’s on his own, attempting to impress everyone with the NeXT computer, an item that is doomed to failure. And we end on a high note in 1998 with the launch of the first iMac and Jobs’ ensuring he would never be forgotten. It’s like a crazy rollercoaster ride, as the advances in computer innovation are revealed to be less important than marketing and design. As Jobs so aptly puts it, “They won’t know what they’re looking at or why they like it but they’ll know they want it”.

Steve Jobs - scene2

By telling Jobs’ story in three distinct episodes, Boyle and Sorkin, with the aid of a very talented cast, reveal how Jobs started with an idea and kept pursuing it for over fifteen years. That idea may have gone through some variations in all that time, but the movie paints a very convincing portrait of a man driven by the need to do things differently and in a way that’s at odds with everyone around him. In his pursuit of excellence in home computing, Jobs brooked very little compromise, and we see this in the meticulous nature of his product launches, where even the Exit signs have to be switched off so that the visual presentation can have the most impact. Jobs doesn’t compromise, and he doesn’t recognise the value and support of the people around him, including his old friend and co-creator of the Macintosh, Steve Wozniak (Rogen), and his long-suffering personal assistant Joanna Hoffman (Winslet).

Each launch brings its own set of issues and problems for Jobs to overcome, from the first Macintosh’s failure to say “hello”, to the NeXT computer’s lack of an operating system, to Wozniak’s public insistence that the iMac launch should include an acknowledgment of the work put in by the team who made Apple II so successful. Jobs refuses to accept that any of these will interfere with his plans for success, and he drives the people around him with a fierce determination that is both alienating and patronising. The movie keeps Jobs focused and uncompromising in his self-belief, right until the end, and as an anti-hero he fits the bill entirely.

But while the behind the scenes manoeuvrings that show how each phase of Jobs’ career were a necessary, evolutionary step (for him and his computers) all make for compelling viewing, the movie is less successful with its three act structure than it realises. Each section relies on a lot of repetition, as encounters and personal problems are examined each time, albeit from slightly different angles. Jobs’ condescending treatment of Wozniak is a case in point, as is his dismissive treatment of computer engineer Andy Hertzfeld (Stuhlbarg). And then there’s Lisa, the daughter he tried to deny having.

Film Title: Steve Jobs

Jobs’ relationship with Lisa is one of the bigger subplots in the movie, and as an attempt by Boyle and Sorkin to show the man’s more “human” side, it’s nevertheless quite clumsy and unconvincing in its execution. At the first launch, Lisa is five years old; up until she uses a Macintosh to draw a picture, Jobs is distant toward her, and to her mother, Chrisann (Waterston). But the picture changes his feelings about her, and in the other two acts we see the same sort of thing happen again, as Jobs begins to treat Lisa as a person and not a Court-confirmed inconvenience (Jobs was so arrogant that upon learning that a paternity test showed it was 94% certain he was Lisa’s father, he came up with an algorithm that counter-claimed that the 6% difference meant Chrisann could have slept with any one of twenty-eight million men and the result would have been the same). While it’s a creditable attempt to humanise Jobs, it’s these scenes that carry the least weight, and the least credibility. By the time Lisa is nineteen and on the verge of wanting nothing to do with him, all it takes is for Jobs to say he was “poorly made” and she forgives him just like that (as well as a hastily improvised bribe that promises she’ll have one of the first iPods).

More potent is the relationship Jobs has with John Sculley (Daniels), the CEO he poached from Pepsi to run Apple in the Eighties. It was Sculley who had Jobs ousted from Apple following the disastrous sales of the Macintosh, and Sorkin’s script soars whenever it focuses on the pair’s uneasy relationship. There’s a bravura scene where Jobs confronts Sculley over what he sees as the CEO’s betrayal of him, and Boyle intercuts with flashbacks that show the depth of Jobs’ own complicity, giving the audience a balanced view of what happened and why. Both Fassbender and Daniels are superb in these scenes, and the movie has a fire and an energy that it lacks elsewhere.

As expected, Boyle elicits strong performances from his cast, with Fassbender giving a superb performance as the empathy-lite Jobs, and Winslet stealing the movie out from under him as Joanna. Winslet is simply in a class of her own, adding subtlety and shading to a role that would otherwise have been quite bland. When she confronts Jobs over his treatment of Lisa before the ’98 launch, the pent-up emotions she releases are as liberating for the viewer as they are for Joanna. In support, Rogen shows fleeting glimpses of the actor he can be when he’s not channelling Seth Rogen, and Daniels is magnificent as Sculley.

Steve Jobs - scene1

Jobs is frequently challenged as to what he can actually do, and at one point he tells Wozniak that “musicians play their instruments. I play the orchestra”. With Jobs, Boyle shows himself to be a great conductor as well, but thanks to some uncomfortable narrative decisions borne out of Sorkin’s script, this isn’t as rewarding as some of his other movies, and his control over the material, while evident throughout, isn’t enough to overcome the movie’s built-in deficiencies. That said, and as with all of Boyle’s movies, it’s visually stimulating and in tandem with editor Elliot Graham, he maintains a pace and a rhythm that propel the viewer along effortlessly.

Rating: 7/10 – slickly, professionally made with Boyle firmly in charge and full of impressive performances, Jobs is nevertheless a movie that fails to do full justice to its central character; as a result Jobs the human being proves less interesting than Jobs the arrogant perfectionist, and any insights into the man that can be gleaned are at the expense of soap opera elements that, unfortunately, compromise his more acerbic nature.

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A Few Thoughts About The Interview

19 Friday Dec 2014

Posted by dullwood68 in Movies

≈ Leave a comment

Tags

AMC, Assassination, Cancelled release, Cineplex, Guardians of Peace, James Franco, Kim Jong-un, Seth Rogen, Sony, The Interview

It was a sad day for the movie world when on 17 December 2014, Sony announced that they were cancelling plans to release The Interview in any format.

Interview, The

On the face of it, it seems Sony has decided to give in to the bullying, threatening tactics used by the so-called ‘Guardians of Peace’, and their efforts to stop the movie’s release. While it certainly must have come as a bit of a shock to the execs at Sony to see internal e-mails, employment records, and financial information relating to the movie – such as the salaries of stars James Franco and Seth Rogen – being made public, this kind of cyber attack is hardly unheard of these days. Even when further information was leaked a couple of weeks later, was anyone really that worried by the hackers audacity?

The answer is obviously, yes. After the second release of information was made on 8 December, The Interview had its L.A. premiere on 11 December (and received mixed reviews). On 16 December, the hackers issued an ultimatum to movie theatres in the US and anyone planning to see the movie: “keep yourself distant from the places [cinemas] at that time. (If your house is nearby, you’d better leave.)” The reaction: Sony removed all mention of The Interview from its web site, Franco and Rogen both stopped doing publicity for the movie, and its planned theatrical release on 25 December was cancelled.

In effect, the so-called ‘Guardians of Peace’ made some vague threats and Sony threw in the towel before they’d even gotten in the ring.

Interview, The - scene

There are wider implications involved here that Sony hasn’t – apparently – considered, such as the precedent they’ve now made for every other production company, investor, studio, or organisation involved in the making and promoting and showing of movies, whether in the US or abroad. Which movie will be next? Putting aside the subject matter of The Interview itself – the planned assassination of North Korea’s Kim Jong-un – what’s to stop another hateful organisation like the so-called ‘Guardians of Peace’ from popping up and voicing their dislike of any other movie? And threatening violence if it’s shown?

With theatre chains in America such as AMC and Cineplex deciding to either drop the movie altogether or delay it until all the fuss has died down, Sony took the opportunity to withdraw the movie – and not release it at all (not even on VOD which would have allowed them to recoup some of the movie’s costs). Instead of standing up to what amounts to the worst kind of schoolyard bullying, the company used the cinema chains’ reluctance to see their premises and/or staff put at risk as an excuse to bow to the pressure placed on them. And they had the nerve to say in their statement: “We stand by our filmmakers and their right to free expression…” Is anyone really impressed, or convinced, by this assertion?

The role of Franco and Rogen in all this is disappointing as well. Their silence on the matter (and apparent willingness to stop promoting the movie) infers a lack of commitment to their movie that’s as worrying as the attacks on Sony’s computer systems. That too such vocal and usually forthright performers haven’t the cojones to stick up for their own movie, or voice any anger at the actions of the so-called ‘Guardians of Peace’, is baffling and regrettable. Don’t they have anything to say about what’s happened?

Whether they do or not though, the fact remains that Sony has done an incredible disservice to moviegoers everywhere – The Interview won’t even be released outside of the US. There’s a bigger, more important principle at stake here (and whether the movie is good or bad), and that’s free speech. For Sony to cave in under pressure so quickly and cravenly is disgraceful, and especially in light of the US Department of Homeland Security stating there is “no credible intelligence” of an active violent plot against cinemas. This makes their decision one of the most ill-considered, and – let’s say it – cowardly responses to a threat anyone’s heard in a long time.

Agree? Disagree? Feel free to let me know.

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