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thedullwoodexperiment

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thedullwoodexperiment

Tag Archives: Susan Sarandon

Viper Club (2018)

17 Sunday Feb 2019

Posted by dullwood68 in Movies

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Drama, Edie Falco, ER nurse, Journalist, Kidnapping, Lola Kirke, Maryam Keshavarz, Matt Bomer, Ransom, Review, Susan Sarandon, Thriller

D: Maryam Keshavarz / 109m

Cast: Susan Sarandon, Edie Falco, Matt Bomer, Lola Kirke, Julian Morris, Sheila Vand, Adepero Oduye, Patrick Breen, Amir Malaklou, Damian Young

Helen Sterling (Sarandon) is an ER nurse whose son, Andrew (Morris), is a journalist who covers war zones. When he’s kidnapped by terrorists, Helen approaches the FBI for help, but their lack of urgency in dealing with Andrew’s abduction causes Helen to become frustrated and angry at how long it’s taking to get him back. A fleeting visit from a friend of Andrew’s, Sheila (Vand), prompts Helen into exploring different options than the ones “official channels” want her to pursue. She is given the number of Charlotte (Falco), someone else whose son was abducted, and who got him back with the help of the Viper Club. Helen learns that the Viper Club lobbies individuals to help with ransom payments, and has a network of contacts that can allow those payments to reach the right destinations (Helen has been repeatedly advised that paying terrorists, under any circumstances, is a criminal offence). When she receives a message from the terrorists asking for $20 million for Andrew’s safe return, and both the FBI and the State Department show no further sense of urgency, Helen decides to ask the Viper Club for their help…

A straightforward “issue” movie that tries to deal sincerely with the efforts of one lone mother to have her kidnapped son returned to her safely and well, Viper Club wears its sincerity and seriousness like a badge of honour, and though it tries hard – sometimes too hard – it often finds itself mired under a welter of good intentions. At its heart is another tremendous performance from Sarandon (who seems drawn to these kinds of roles and stories), but although her portrayal of Helen is nuanced and intelligently handled, and passionate too, it’s in service to a screenplay by director Keshavarz and Jonathan Mastro that doesn’t live up to its star’s efforts. Instead of this being a movie about the determination of a mother to rescue her son no matter what, there are too many stretches in the movie where that story is held up while the narrative explores Helen’s work life, and in particular, the case of a young car accident victim who’s in a coma, and the victim’s mother (Kirke). This leads the overall story nowhere (except occasionally into soap opera land), and though it highlights Helen’s compassionate nature and willingness to bend the rules, we already know this through the main thrust of the material.

Away from the ER, the movie is on firmer ground, but there are still problems to be overcome. It’s no surprise to find the FBI and the State Department represented as bureaucratic suits who believe there should be only one way of dealing with kidnappings by terrorists: their way. And Helen is kept in the dark about a lot of things that the Viper Club are doing on her behalf, more so for dramatic purposes than for any logical reasons (she’s treated quite patronisingly when there’s no need for it). Secondary characters such as Falco’s facilitator, and Bomer’s journalist-cum-Viper Club liaison officer, Sam, have a place in the narrative but it’s largely expositional, while flashbacks to when Andrew was last home and when he was a child are meant to be poignant, but only achieve this on a superficial level. Making only her second feature, Keshavarz has aimed high with her story and been blessed by obtaining Sarandon’s services, but there’s a pervading sense that she hasn’t worked out fully what she’s trying to say – or if she has, then she hasn’t worked out the best way of getting that message across. Some individual scenes work well in themselves and there’s a spirited energy to others that also helps, but this is a patchwork movie that doesn’t do itself – or its main character – the justice it needs.

Rating: 5/10 – anchored and improved by a powerful performance by Sarandon, Viper Club is another movie where the sum of its parts adds up to less than what was needed; well intentioned, and with a pertinent story to tell in today’s troubled times, it’s a shame that the focus shifts so often, and in ways that makes it very diffcult for the movie to make up all the ground that it loses by doing so.

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The Meddler (2015)

17 Saturday Sep 2016

Posted by dullwood68 in Movies

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Tags

Bereavement, Comedy, Drama, J.K. Simmons, Lorene Scafaria, Mother/daughter relationship, Relationships, Review, Romance, Rose Byrne, Susan Sarandon, Widow

the-meddler

D: Lorene Scafaria / 103m

Cast: Susan Sarandon, Rose Byrne, J.K. Simmons, Jerrod Carmichael, Cecily Strong, Lucy Punch, Michael McKean, Jason Ritter, Jo Jordan

Marnie Minervini (Sarandon) is recently widowed. She has a daughter, Lori (Byrne), who lives and works in Los Angeles in the TV industry. At a loss as to what to do with her time, and despite being financially comfortable thanks to her late husband Joe’s foresight, Marnie chooses to focus her attention on Lori. But Marnie has no idea that her attentions are overbearing, and she ignores Lori’s protests that she’s trying too hard to involve herself in her daughter’s life. When Lori gets an plus-one invitation to a friend’s baby shower, Marnie invites herself along. Lori doesn’t show but Marnie is a hit with her daughter’s friends, and soon she’s spending more and more time with them, particularly Jillian (Strong), who reveals her wish to be married but who can’t afford it.

Marnie persuades Jillian to let her pay for the wedding, and soon she and Jillian’s friends (and Lori’s) are planning all the details, including the bridal outfit. Meanwhile, Lori announces that she’s going to New York for a while. The pilot she’s working on is being filmed there, and it makes sense for her to be there if any problems arise. Marnie throws herself into helping others, from the Genius at an Apple store, Freddy (Carmichael), to an elderly lady (Jordan) at the hospital where she volunteers. She even meets a retired policeman called Zipper (Simmons) when she inadvertently wanders into the background of a movie that’s being shot, and is mistaken for an extra.

the-meddler-scene1

A trip to New York to visit Lori and Joe’s family goes awry, and Marnie returns to Los Angeles chastened and beginning to realise just how much her grief has been channelled into helping others at the expense of herself. She spends more time with Zipper, and comes to Lori’s aid when she has an emergency. Jillian’s wedding goes off without a hitch, and Marnie is given a special mention for her help in organising it all. But Marnie still has to make a decision about whether or not she wants to continue as she is – constantly occupied yet unhappy – or begin a new stage in her life, one that will see her still helping others but not out of personal necessity.

While it’s an apt description of Marnie’s character (for the most part), The Meddler is only so apt when it applies to Marnie’s relationship with her daughter. Away from this, it’s not quite so appropriate, as Marnie’s actions are more altruistic than interfering. This leads to a curious fracturing of the narrative, as the scenes where Marnie uses her financial good fortune, and in the case of the old lady in the hospital her compassion, carry a less distinctive dramatic weight than in those where she spars with Lori for her daughter’s attention. It’s hard to determine if writer/director Scafaria, here following up her feature debut Seeking a Friend for the End of the World (2012), intended it this way, or if it was something that was decided on in post-production.

the-meddler-scene3

What emerges is a movie that is able to examine an aging woman’s experience of grief and the twofold way in which she assimilates and deals with it. On the one hand, her relationship with Lori suffers because Marnie isn’t able to tell her daughter just how much she’s still hurting from the loss of the man who was so important to both of them. Instead she tries to protect and control Lori’s life to the extent that she’ll be kept perfectly safe – and Marnie won’t need to worry about losing her as well. That her actions are having precisely that very effect is the irony that compounds the situation, and stops things from being resolved between them. Scafaria makes a clever decision in their early scenes by playing up the humour inherent in the idea of an overbearing mother (at one point Lori suggests her mother take up a hobby; Marnie’s reply? “Maybe you could be my hobby!”). But the humour is gradually eroded and left behind in favour of exchanges that highlight the pain both women are suffering, and the additional pain their discord is causing each other.

Scafaria has created an emotionally complex, unfailingly brave character in Marnie Minervini, and she’s been blessed with the involvement of Sarandon in the role. The actress inhabits the part so completely, and with such ease, that it becomes a quiet masterclass in screen acting. Sarandon’s performance is so subtle, and so shaded, that often it seems she isn’t doing anything at all. And yet, every expression, every gaze, and every physical movement is in service to the character’s emotions, and her struggle to make sense of her continuing grief. To some degree we’re used to Sarandon giving impressive performances, but here she excels in a role that isn’t flashy, isn’t contrived, and isn’t weighted down by unnecessary layers. Sarandon doesn’t even attempt to make Marnie sympathetic beyond the fact of her being a widow; any sympathy Marnie receives from the viewer is earned through Sarandon’s careful attention to the character and the lessons she learns along the way.

the-meddler-scene2

If there’s one criticism that could be levelled at the movie, it’s that Sarandon’s performance is so good that it eclipses those of the rest of the cast. By comparison, Byrne and Simmons et al fall just that little bit short of impressing as much. It’s not their fault, nor is it Scafaria’s – Sarandon is just that good – but it does make the movie feel a little uneven, as if the secondary characters, while important to the overall story, lack the necessary colour to make them stand out. In any other movie it probably wouldn’t be a problem, but here it detracts from the effectiveness of the various relationships.

Elsewhere there’s still much to admire, from the storyline involving the old lady in the hospital who keeps using a hand to make circles in the air, and which is given a poignant resolution; to the brief scene with Joe’s relatives where a very important clue as to the depth of Marnie’s grief is revealed; and Zipper’s owning chickens, which leads to the line, “Turns out, for the optimal combination of happiness and productivity… All roads lead to Dolly [Parton].” These are all minor moments in the overall fabric of the movie, but their understated nature is perfectly in tune with the gentle, good-natured approach Scafaria brings to the material. It’s a simple story, told simply and well, and at no point is the viewer left on the outside looking in. The humour is there, the drama is there, and the pathos is there, and it’s all impeccably put together by its writer/director in conjunction with its editor, Kayla Emter.

Rating: 8/10 – movies like The Meddler come along maybe once or twice a year, and often go overlooked, which is a shame, as Scafaria’s heartfelt tale of unaddressed grief is moving, life-affirming and overwhelmingly positive in its outlook; Sarandon is magnificent, Scafaria directs her own script with skill and clarity, and the movie offers a slew of rewards for anyone lucky enough to see it.

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Trailers – The Brainwashing of My Dad (2015), Ghostbusters (2016), and The Meddler (2015)

03 Thursday Mar 2016

Posted by dullwood68 in Movies

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Comedy, Documentary, Drama, Jen Senko, Kirsten Wiig, Melissa McCarthy, Previews, Susan Sarandon, Trailers

In The Brainwashing of My Dad, documentary movie maker Jen Senko asks the perfectly reasonable question: why did my father change from a life-long Democrat with no axe to grind against minorities, to a right-wing fanatic with no time for gays, blacks, or the very Democrats he was a part of? The answer lies in the rise of the right-wing media in the US, and shows just how pervasive it’s become – and with no clear way of redressing the balance. By using her father as a prime example of how persuasive the right-wing media phenomenon has become, Senko seeks to understand and explore the ways in which Americans are being drip-fed a steady diet of paranoia and xenophobia, and how the effect of this diet is both wide-ranging and a major reason for concern in the years ahead.

 

The reboot of Ghostbusters features four of today’s finest comediennes – Kirsten Wiig, Melissa McCarthy, Kate McKinnon, and Leslie Jones – and plonks them down in many of the situations that made the original so entertaining. So is there likely to be a fresh approach to Ivan Reitman’s Eighties classic, or will we find ourselves awash in the kind of romantic nostalgia that provided the basis for Star Wars: The Force Awakens (2015)? It’s hard to tell from this first trailer, which combines two iconic moments from the original in its first twenty seconds, and then seems content to rehash scenes from Ghostbusters II (1989). That might be prove to be a good thing, but right now the jury’s still out on just how effective Paul Feig’s gender-switch update will be, and how funny.

 

With the unlikely name of Marnie Minervini, Susan Sarandon’s interfering mother – or The Meddler, if you prefer – has all the hallmarks of a woman who lacks boundaries and treats her kids as extensions of her own personality. In Lorene Scafaria’s offbeat yet heartwarming comedy, Sarandon doesn’t lack for opportunities to show off her comedic skills, but you can be sure that in amongst all the indie hijinks and scatterings of inappropriate behaviour, there’s a simple story about mother-daughter differences that are overcome in the end. A feelgood story? Very probably. A movie that offers us something fresh, or new? Maybe, but at least it looks as if you’ll have fun finding out.

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Mini-Review: The Calling (2014)

23 Friday Jan 2015

Posted by dullwood68 in Movies

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Canada, Crime, Donald Sutherland, Drama, Ellen Burstyn, Fort Dundas, Gil Bellows, Jason Stone, Literary adaptation, Murder, Religion, Review, Serial killer, Susan Sarandon, Thriller, Topher Grace

Calling, The

D: Jason Stone / 108m

Cast: Susan Sarandon, Gil Bellows, Ellen Burstyn, Topher Grace, Christopher Heyerdahl, Donald Sutherland, Kristin Booth, Ella Ballentine, Jane Moffat

Asked to look in on an old woman as a courtesy, Fort Dundas police inspector Hazel Micallef (Sarandon) finds the woman has been murdered, her throat cut and her mouth manipulated to make it look like she’s screaming. With help from fellow detective Ray Green (Bellows) she begins to investigate the murder but when another victim is discovered in similar circumstances, she begins to suspect a serial killer is responsible. She asks for help on the case and is sent Ben Wingate (Grace), an officer from Toronto; he’s a bit wet behind the ears but eager to help.

As previous victims are identified, Hazel discovers a religious aspect to the murders. She consults with Father Price (Sutherland) who tells her of a biblical portent that relates to the belief in the resurrection of the dead through the sacrifice of twelve willing individuals. Further murders occur but clues lead to a man named Simon (Heyerdahl); they also show the trail he appears to be taking across the country and the way in which he chooses his victims. Armed with this knowledge, Hazel takes a risk and sends Wingate to the home of Simon’s next intended victim…

Calling, The - scene

Pitched somewhere between Fargo (1996) and Se7en (1995), The Calling is a serial killer movie that, like many others before it, takes a biblical angle and makes it sound preposterous. It’s always difficult to provide a religious-minded serial killer with an entirely plausible reason for their actions, but this movie, with its otherwise cleverly constructed script by Scott Abramovitch (based on Inger Ash Wolfe’s novel), has a hard time making Simon’s motive credible, and fares even less well when it comes to the sacrificial elements – why does his victims have to be killed so horribly? It’s all too confusing and muddled to work properly and hampers a movie that goes about its business with a moody, unrelenting seriousness.

There’s a sterling performance from Sarandon as a detective with a drink problem, but even she can’t avoid comparisons with Frances McDormand in Fargo – though her level of world-weariness is more pronounced. Bellows and Grace offer solid support, as does Burstyn as Hazel’s over-protective mother, but it’s Heyerdahl who makes the most impact, his portrayal of Simon both unnerving and chilling in its quiet intensity. One scene with the daughter of a waitress is so unsettling it’ll stay with you long after the rest of the movie has faded from your memory. Stone directs with the eagerness of someone making their first feature (which he is), but reigns in the desire to show off and throw in everything including the kitchen sink. He has a pleasingly straightforward approach to framing and composition, and isn’t afraid to embrace some of the more awkward plot developments (basically, anything involving Sutherland). It’s a confident outing for Stone, but sadly, it only gets him so far.

Rating: 5/10 – an interesting premise that’s let down by its own explanation, The Calling is left feeling overcooked and underwhelming; fans of this sort of thing will see the final scene coming from a mile off, while anyone else will have lost any initial enthusiasm once Hazel consults with Father Price.

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Tammy (2014)

26 Sunday Oct 2014

Posted by dullwood68 in Movies

≈ 2 Comments

Tags

Allison Janney, Bail, Comedy, Louisville, Mark Duplass, Melissa McCarthy, Niagara Falls, Review, Road trip, Susan Sarandon, Topper Jack's

Tammy

D: Ben Falcone / 97m

Cast: Melissa McCarthy, Susan Sarandon, Allison Janney, Mark Duplass, Gary Cole, Kathy Bates, Sandra Oh, Nat Faxon, Toni Collette, Dan Aykroyd, Ben Falcone

Tammy (McCarthy) is having a bad day: first her car is hit and totalled by a deer, then she’s fired from her job at Topper Jack’s for being late.  To make matters worse, when she gets home she finds her husband, Greg (Faxon) having a romantic meal with their neighbour, Missi (Collette).  With no car, no job, and her marriage over, Tammy does what she always does when things go wrong: she plans to leave town.  However, her mother (Janney) refuses to lend Tammy her car.  Enter Tammy’s grandmother, Pearl, who’ll let Tammy use her car, but under one condition: that she can come along for the ride.  Tammy has her misgivings but when Pearl says she can pay for the trip as well, Tammy agrees she can come along.

After a first night where they both end up drinking too much, Tammy wants to go home, but Pearl persuades her to stick with the trip, and they head for Niagara Falls.  On the way Tammy stops off to go jet skiing but she wrecks the jet ski and Pearl is forced to pay for it.  Next they go to Louisville where they visit a bar that serves the best barbecue around; there they meet Earl (Cole) and his son, Bobby (Duplass).  Pearl and Earl quickly hit it off – so much so that they end up having sex in the back of Pearl’s car – while Tammy and Bobby make a more restrained connection.

The next morning, Tammy discovers Pearl in a liquor store mixing whiskey in a Slurpee and trying to buy alcohol for some minors.  The police are called and both Tammy and Pearl are arrested.  Pearl pays for Tammy’s bail, but doesn’t have enough for herself.  Tammy robs a local Topper Jack’s to get her released but she’s beaten to it by Earl.  The robbery makes the news, and Pearl persuades Tammy to return the money.  From there they travel to meet Pearl’s old friend Lenore (Bates) and her partner Susanne (Oh) and be a part of their annual Fourth of July party.  Earl and Bobby turn up as well, and although Tammy and Bobby’s relationship deepens, Pearl’s drunken behaviour on the night causes a rift between grandmother and granddaughter that leads Tammy to rethink her life and what she wants from it.

Tammy - scene

Co-written by McCarthy with her husband (and director) Falcone, Tammy is ostensibly a comedy, but by the movie’s end it’s morphed into a somewhat sombre drama that abandons laughs in order to get across its message: that you can be whoever you want to be as long as put in the effort.  This shift in tone does two things: it adds some much needed depth to proceedings, and makes the viewer wonder how much better the movie could have been, played as a straight drama.  For this is the strange problem with Tammy: the more serious aspects are handled far more effectively than the comedic ones.

Part of the problem here is that, thanks to The Heat (2013) and Identity Thief (2013), McCarthy’s particular brand of comedy is fast becoming “old hat”, with her childish prolonging of bad behaviour and infantile arguments having lost their ability to amuse already.  It’s not so much that McCarthy is a one-trick pony, more that she plays the same character in each movie and with little variation.  But here, thanks to the way in which the script has been developed, McCarthy shows how adept she can be when giving a more balanced performance (perhaps it’s because she’s acting alongside the estimable Susan Sarandon; she certainly ups her game in their scenes together).

With the storyline proving more and more lacklustre as matters progress, and with Tammy herself made more considerate and less “dumb” as she interacts with Bobby and Lenore, the humour fades in service to the demands of an increasingly serious chain of events.  It’s almost as if McCarthy and Falcone ran out of funny ideas and decided to make more of an issue of Pearl’s alcoholism, while at the same time bringing Tammy up short and make her more responsible.  It’s like watching a character being made to grow up at the same time as the movie she’s in.

So, are the opening scenes funny?  Absolutely, but at the expense of Tammy’s likeability, and while the script wisely allows her to leave behind her childish attitude, it’s clear that her behaviour is so closely tied to the movie’s humorous set pieces that without them it struggles to reassert its identity.  Sarandon acts like she’s taking some time out from acting more sensibly and with greater purpose, while supporting turns from Janney, Cole, Collette and Aykroyd are little better than cameos.  Bates is fun to watch as a lesbian with a fetish for blowing things up, and Duplass brings his indie sensibility to a role that is largely there to help Tammy regain her self-esteem (as if she can’t do it for herself).

Falcone directs with confidence even if he doesn’t quite have an entirely sure hand on the material, and gives his cast the room to spark off each other.  It leads to mixed results throughout, and some scenes are less effective than others, particularly those where Tammy’s challenging of authority is more a scripted necessity than a clearly defined character trait.  But as noted before, the sobering final half hour – in a weird way – rescues the movie and the director is on firmer ground.  And there’s one last comedic flourish courtesy of a clutch of outtakes, and the revealing of McCarthy’s “secret” – now that’s funny.

Rating: 5/10 – disappointing in its approach and execution but still largely watchable, Tammy provides evidence that McCarthy needs to find herself a serious role to play, and soon; not as warm-hearted as it would like to be, and short on belly laughs, the movie gets by on McCarthy’s easy-going charm and Sarandon’s devil-may-care approach to the material.

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Peacock (2010)

02 Thursday Jan 2014

Posted by dullwood68 in Movies

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Tags

Bill Pullman, Cillian Murphy, Drama, Ellen Page, Michael Lander, Review, Small-town America, Susan Sarandon, Thriller

Peacock

D: Michael Lander / 90m

Cast: Cillian Murphy, Ellen Page, Susan Sarandon, Josh Lucas, Keith Carradine, Bill Pullman, Graham Beckel

Beginning with a major plot twist that most movies would leave until the final reel, Peacock is a small-town drama that focuses on notions of family and identity, as well as what it can mean to be part of a small-town community.

Murphy plays John, a painfully shy/socially awkward bank clerk who has managed to keep himself to himself in the year since his mother passed away, despite the best efforts of neighbours and some of the customers at the bank.  He lives in a large house next to the train tracks; when a carriage jumps the rails and ends up crashing into his back garden, narrowly missing him, his life becomes more complicated than he could ever have wished, leading him to discover things about himself that he would rather not have known.

Peacock - scene

Peacock is a beguiling movie, with Murphy’s performance firmly at its heart.  He shows the complexity of the character and the fragility of John’s mental state with an ease that is hypnotic, keeping the viewer glued to the unfolding events and eliciting sympathy at every turn.  It is a bravura piece, and the movie is worth watching for his performance alone.  It’s great to be able to add that he is more than ably supported by Sarandon, Pullman and Carradine, whose characters all want something from John, and use their apparent concern for him to advance their own causes.  Lucas serves as the nearest John has to a friend, while Page plays Maggie, a figure from his past who further adds to the problems he can’t seem to shake.  It all leads to a desperate climax with John sacrificing everything in order to be able to carry on.

There is much to admire in Peacock.  Aside from the quality of the acting – unsurprising given the cast involved – the cinematography by Philippe Rousselot is perfectly framed throughout and at times shows an almost painterly eye.  The editing, by Sally Menke (on her last film) and Jeffrey M. Werner, keeps the movie expertly paced, and the production design, especially with regard to the darkened interior of John’s home, is faultless; this is small-town America as even non-Americans will recognise it.

Director and co-writer Lander, making his feature debut, has a good eye for the nuances and undercurrents of small-town life, and manages everything with the confidence of a director with many more films under their belt.  He also knows how to keep a scene moving and when to switch focus from character to character.  And lastly, a mention for the score by Brian Reitzell: it ably supports the various emotional arcs of the characters and adds an appropriately melancholy touch to the proceedings.

Rating: 8/10 – a touching drama that becomes a character-driven thriller at the end but which remains grounded in credibility throughout; a minor gem.

Originally posted on thedullwoodexperiment website.

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All Things Movies UK

Movie Reviews and Original Articles

movieblort

No-nonsense, unqualified, uneducated & spoiler free movie reviews.

Interpreting the Stars

Dave Examines Movies

Let's Go To The Movies

Film and Theatre Lover!

Movie Reviews 101

Daily Movie Reviews

That Moment In

Movie Moments & More

Dan the Man's Movie Reviews

All my aimless thoughts, ideas, and ramblings, all packed into one site!

Film History

Telling the story of film

Jordan and Eddie (The Movie Guys)

Australian movie blog - like Margaret and David, just a little younger

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