Comedy Archives - FILM FREAK CENTRAL

Nightbitch (2024) + Babygirl (2024)

December 14, 20242024, Authors: Walter Chaw, Comedy, Crime, Mystery, Netherlands, Theatrical, Thriller

NIGHTBITCH
**/****
starring Amy Adams, Scoot McNairy
based on the novel by Rachel Yoder
written for the screen and directed by Marielle Heller

BABYGIRL
**/****
starring Nicole Kidman, Harris Dickinson, Antonio Banderas, Sophie Wilde
written and directed by Halina Reijn

by Walter Chaw I’m sick of watching films about unhappy, beautiful, rich white people. You’ll forgive me. Maybe one day, I’ll regain the appetite to try to relate to the existential malaise they suffer in the face of their extraordinary privilege, their boring sex lives, their quotidian successes at the tops of various social ladders. To the winners go the spoils, as they say, but at least have the discretion to be grateful or, failing the urge to whine, the decency to be entertaining. In 2024, when the United States chose fascism on the back of a wave of populist xenophobia and white nationalism, I admired mid-life performances from Demi Moore and Pamela Anderson in mediocre but vaunted films rueing the loss of their legendary beauty in a culture that made them famous for, at least in part, their legendary beauty. Once objects of desire, they’ve come to have regrets. Me, too. I played my part in dehumanizing them in my time. It’s complicated.

SDAFF ’24: Ben and Suzanne: A Reunion in 4 Parts + Stranger

November 29, 20242024, Authors: Walter Chaw, Comedy, Drama, Film Festivals, France, Netherlands, Norway, Romance, San Diego Asian Film Festival

BEN AND SUZANNE: A REUNION IN 4 PARTS
***/****
starring Sathya Sridharan, Anastasia Olowin
written and directed by Shaun Seneviratne

STRANGER
局外⼈
**½/****
starring Jin Jing, Liguo Yuan, Baohe Xue
written and directed by Zhengfan Yang

by Walter Chaw There’s a sense of suspension in hotel rooms, a weight accrued from the parade of temporary occupants, somehow–cosmic luggage left behind. There’s possibility in hotel rooms. You can be who you want to be and someone else will clean up after you, make it seem like you were never really there, prime the pump for the next in line. There’s freedom in that, and threat, too, a practical reminder that you are temporary and once you have gone, the world will, by design, rush to fill the space you abandoned. Shaun Seneviratne’s Ben and Suzanne: A Reunion in 4 Parts begins in a guest suite and ends in a series of hotel rooms as nebbish Ben (Sathya Sridharan) visits his girlfriend Suzanne (Anastasia Olowin), who’s away on a three-month business trip in Sri Lanka. She works for a program that’s ostensibly for the development of small, women-run companies, but lately it’s devolved into the odious task of collecting loans for the bank. “I only went to the bank because of you,” says one of Suzanne’s clients as she’s asking for more time to recover from the ravages of the pandemic, and I thought of Darth Vader on Cloud City telling Lando to pray he doesn’t alter the terms of their agreement further. Suzanne’s task, already ugly, is made uglier by the fact that she’s a white woman and all of the women who trusted her are brown. This isn’t what the film is about, though in time you realize it’s at the base of what everything’s about.

SDAFF ’24: Love Lies + Dead Talents Society

November 20, 20242024, Authors: Walter Chaw, Comedy, Drama, Film Festivals, Hong Kong, Horror, Romance, San Diego Asian Film Festival, Taiwan

LOVE LIES
我談的那場戀愛
*/****
starring Sandra Ng, Cheung Tin Fu, Stephy Tang
written by Hing-Ka Chan, Miu-Kei Ho
directed by Miu-Kei Ho

DEAD TALENTS SOCIETY
鬼才之道
*/****
starring Chen Bo-lin, Gingle Wang, Sandrine Pinna
written by John Hsu, Kun-Lin Tsai
directed by John Hsu

by Walter Chaw I want to grant that comedy is difficult to translate. But it’s not impossible–there are enough examples to the contrary to make this a specious argument–so I’m willing to give Hong Kong film Love Lies and Taiwan’s Dead Talents Society the benefit of the doubt. Maybe they play better in their native cultures and tongues. Maybe they’re better with an audience–some films are, you know. Or maybe not. Maybe this middlebrow, low-aspiring, derivative dreck receives the same kind of derision everywhere and we’re not so different after all. It’s not a matter of cultural superiority, mind; in suggesting the delicacies of humour can be lost in translation, I’m not saying that Chinese people are incapable of detecting garbage when presented with it. I have to tell you, though, that both of these films are multiple nominees at this year’s Golden Horse Awards (frickin 11 for Dead Talents Society by itself)–our cultures are not so far apart when it comes to giving out movie awards. I’ll also acknowledge some personal bias in reviewing Asian pictures: a toxic brew of barely understood self-loathing and the deep-rooted desire not to be lumped in with behaviours that could be coded as racially humiliating or even, at times, identifying. It’s like using the word “honoured” around white people: I try not to do it. This is a long way of saying Love Lies and Dead Talents Society are technically well-made films that vibrate at frequencies I can, incongruously, neither hear nor tolerate. Your mileage may vary.

Red One (2024)

November 14, 20242024, Action, Adventure, Authors: Walter Chaw, Canada, Comedy, Family, Mystery, Theatrical, ZERO STARS

ZERO STARS/****
starring Dwayne Johnson, Chris Evans, Lucy Liu, J.K. Simmons
screenplay by Chris Morgan
directed by Jake Kasdan

by Walter Chaw I’ve been waiting decades for a spiritual successor to Jingle All the Way, that repugnant ode to materialism gussied up in Yuletide cheer like a corpulent whore from a Victorian stroke-book. Remember that moment in The Rundown where Arnold Schwarzenegger makes a brief cameo to “hand off” his action-king crown to Dwayne “The Rock” Johnson? Turns out it was a monkey’s paw predicting the foolhardiness of them pursuing cush gigs in comic-book franchises and immortality in beloved perennial family holiday classics. How many fingers do monkeys have, anyway? Jake Kasdan’s Red One casts The Rock as humourless man of action Callum Drift. Not humourless like fellow professional wrestler Dave Bautista’s brilliant turn as neurodivergent Drax in Guardians of the Galaxy, humourless like a guy doing a tough-guy bit… and also a dull-guy bit, and, uh, dense, you know–disillusioned, too, because grown-ups don’t love Christmas anymore. Callum, you see, is head bodyguard to Santa Claus (J.K. Simmons) and the leader of ELF, which stands for I don’t fucking know, go watch it yourself. Elite L-something and Fortification or someshit; honestly, we’re both diminished just acknowledging it. Wait, “Enforcement, Logistics, and Fortification.” Fuck. This is humiliating.

SDAFF ’24: A Traveler’s Needs + By the Stream

November 13, 20242024, Authors: Walter Chaw, Comedy, Drama, Film Festivals, San Diego Asian Film Festival, South Korea

A TRAVELER’S NEEDS
여행자의 필요
**/****
starring Isabelle Huppert, Kwon Haehyo, Lee Hyeyoung
written and directed by Hong Sang-soo

BY THE STREAM
수유천
**½/****
starring Kim Minhee, Kwon Haehyo, Cho Yunhee
written and directed by Hong Sang-soo

by Walter Chaw At this point, it’s not that one watches a Hong Sang-soo joint so much as one sits with it companionably, like a chaperoned Victorian date, a slightly alcoholic drink in hand to lubricate the passage of unpredictable chunks of awkward chit-chat. Free of exposition or any narrative of consequence, his stuff is just suggestions of hints of scenarios given to his cast of regulars; then Master Hong sits back to watch how the various elements fall into place. There’s occasional magic among the literal obfuscations (one of his 2023 films, In Water, was shot entirely out of focus on purpose), those tiny sparks between people that define human attraction and other sundry frictions. You’re paying such close attention that a hitch of breath or glint in the eye can feel like revolutionary insight. More, you’re so desperate for meaning that you will attach it to gossamer inference, a will-o-the-wisp made of listlessness and… Is it boredom? It’s not free of boredom.

A Different Man (2024)

October 7, 20242024, Authors: Angelo Muredda, Comedy, Disability, Drama, Theatrical, Thriller

***½/****
starring Sebastian Stan, Renate Reinsve, Adam Pearson, John Keating
written and directed by Aaron Schimberg

by Angelo Muredda Speaking at a recent Lincoln Center screening of his new meta dramedy A Different Man for New Directors/New Films, Aaron Schimberg suggested the project was inspired in part by the loaded reaction to his depiction of disability in Chained for Life, his previous film. Chained for Life cast Adam Pearson, an actor with neurofibromatosis, as an actor with the same condition playing a sanitarium patient in a dodgy European arthouse film-within-the-film about a mad surgeon restoring his disabled charges to normalcy through radical experimentation. Some critics, Schimberg claims, wondered whether it might not be inherently exploitative to cast Pearson and other visibly disabled actors–many of whom, like Schimberg (who has a cleft palate), had facial differences–in a send-up of disability tropes about deformity and beauty. Others would surely have balked at the opposite approach, were he to have burlesqued disability by hiring non-disabled actors to star in a postmodern examination of the aesthetic and ethical traps of disability on film. Why not split the difference and make everyone unhappy with his follow-up, Schimberg thought, by pitting Sebastian Stan, a non-disabled actor playing a disabled protagonist in search of a cure, against Pearson as his obnoxious frenemy–a disabled man as gregarious and comfortable in his own skin as Stan’s character is desperate to crawl out of his?

My Old Ass (2024) + Omni Loop (2024)

September 26, 20242024, Authors: Walter Chaw, Canada, Comedy, Drama, Sci-Fi, Theatrical, Time Travel

MY OLD ASS
**½/****
starring Maisy Stella, Aubrey Plaza, Percy Hynes White, Maddie Ziegler
written and directed by Megan Park

OMNI LOOP
**½/****
starring Mary-Louise Parker, Ayo Edibiri, Carlos Jacott, Harris Yulin
screenplay by Bernardo Britto
directed by Bernardo Britto

by Walter Chaw Writing in the time of John Donne and Andrew Marvell, who both had takes on his “once was horny, now reformed” shtick, Robert Herrick was an Anglican cleric who came upon his piety late in life, as many of us do. Herrick’s most famous work is a “to his coy mistress” bit about “gather[ing] ye rosebuds while ya may,” which, while not as vivid as Marvell’s version threatening a woman that worms will take the frigid object of his pursuit’s virginity if she doesn’t lose it before she dies, is nevertheless a come-on passing as wisdom. As advice to a younger self goes, though, getting laid as much as possible seems the standard, along with more flossing. (It says something that Billy Joel offers the same carrot to his Catholic inamorata in “Only the Good Die Young.”) As we collectively advance into the winter of our sour regret over the calamities we didn’t avoid that have led us to a dark and dimming future, find two films about going back in time to warn, provide guidance for, and essentially function as a mentor to our younger selves before it’s too late. I think it’s touching that we’re having this idea at the same time–strangers, I mean, scenting great change carried on the same foul wind and offering up signal fires from their respective, isolated bunkers. It’s like the last exhalation of a drowning man: it won’t make a shred of difference, but it does trouble the water for a second. Besides, at this point, “touching” is all we got left.

TIFF ’24: Conclave + Emilia Pérez

September 20, 20242024, Authors: Angelo Muredda, Comedy, Crime, Film Festivals, France, Musical, Thriller, TIFF, UK

CONCLAVE
**/****
starring Ralph Fiennes, Stanley Tucci, John Lithgow, Isabella Rossellini
screenplay by Peter Straughan, based on the novel by Robert Harris
directed by Edward Berger

EMILIA PÉREZ
*/****
starring Karla Sofía Gascón, Zoe Saldaña, Selena Gomez, Adriana Paz
written and directed by Jacques Audiard

by Angelo Muredda Knives Out at the Vatican: That’s the basic elevator pitch for Edward Berger’s Conclave, which follows the politically loaded secret process to elect a new Pope following the death of his predecessor under shadowy circumstances. Adapted by Peter Straughan from Robert Harris’s novel of the same name, Berger’s follow-up to the very serious and very loud All Quiet on the Western Front promises a frothier, pulpier good time, and for a while, it delivers one, having some fun with its cloistered setting of hushed hallway meetings, its colourful cast of red-draped snippy cardinals, and its tight 72-hour timeframe, where anything seems possible. Before long, though, Conclave begins to sag under the weight of its pretension to justify the effortful production design (including an ambitiously but pointlessly recreated Sistine Chapel), overwrought musical and editing flourishes, and fraught setting, and to say something–anything, really–about current affairs: gender diversity in the Church, the war between nativism and pluralism, you name it.

TIFF ’24: Young Werther + Friendship

September 18, 20242024, Authors: Bill Chambers, Canada, Comedy, Esoterica, Film Festivals, Romance, TIFF

YOUNG WERTHER
*/****
starring Douglas Booth, Alison Pill, Iris Apatow, Patrick J. Adams
screenplay by José Lourenço, based on the novel The Sorrows of Young Werther by Johann Wolfgang Goethe
directed by José Lourenço

FRIENDSHIP
**½/****
starring Tim Robinson, Paul Rudd, Kate Mara, Jack Dylan Grazer
written and directed by Andrew DeYoung

by Bill Chambers Johann Wolfgang Goethe’s 1774 semi-autobiographical novel The Sorrows of Young Werther made Goethe a global literary sensation practically overnight. José Lourenço’s Young Werther dares to poke a hole in the fourth wall by splashing this factoid across the screen in introductory text, comparing the book’s impact to that of Beatlemania. It’s certainly a choice, explaining the success of The Sorrows of Young Werther as if today’s audiences have no sense of history while simultaneously drawing an analogy to a fad from the ’60s. A more current reference would, I suppose, throw off the film’s Luddite chic. This is a modern-dress adaptation, yes, but there’s a strong whiff of Wes Anderson in how it translates the novel’s epistolary form into a fondness for the quaint and the bespoke (those opening titles are presented with filigreed borders, silent-movie style)–not to mention the picture’s formalist approach to shot design, which at least gives Young Werther more visual élan than one expects of a Crave Original. Citing the book’s fame at all, though: what’s the point? It feels like insecurity at best, overpromising at worst. Can you tell I didn’t care for Young Werther? It’s just so in love with itself that I felt like a third wheel.

TIFF ’24: Anora

September 14, 20242024, Authors: Angelo Muredda, Comedy, Drama, Film Festivals, Palme d'Or Winner, Romance, TIFF

***½/****
starring Mikey Madison, Yura Borisov, Ivy Wolk, Karren Karagulian
written and directed by Sean Baker

By Angelo Muredda Early in the second act of Sean Baker’s Palme d’Or-winning Anora, Toros (Baker staple Karren Karagulian), a rumpled Armenian fixer arriving on the scene of what ought to be a straightforward extraction job, notices the broken glass and smashed furnishings before him, and asks what happened. Baker’s camera follows Toros’s perspective as he takes in the fruits of the expertly crafted, lengthy screwball set-piece preceding his arrival, with the grim visual punchline of a young woman bound with a phone wire, gagged with a scarf, and propped up on one of his colleagues’ laps. The joke, at the expense of his ignorance and our knowledge of eponymous heroine Ani (Mikey Madison), the bound woman, is that the bulk of the damage hasn’t been done by his meathead colleagues but by her, in a feral act of self-defense that falls somewhere between the survival tactics of Road Runner and Kevin McAllister.

Dafoe and Bob in Beetlejuice Beetlejuice

Beetlejuice Beetlejuice (2024)

September 9, 20242024, Authors: Walter Chaw, Comedy, Directors: Tim Burton, Fantasy, Horror, Theatrical

**/****
starring Michael Keaton, Winona Ryder, Catherine O’Hara, Willem Dafoe
screenplay by Alfred Gough & Miles Millar
directed by Tim Burton

by Walter Chaw Somehow lugubrious at under 100 minutes, overburdened by five or six storylines and an unnecessary new lead character who dominates its first half, Tim Burton’s Beetlejuice Beetlejuice leans hard on Burton’s established weaknesses while largely ignoring his established strengths. It treats women like shrill caricatures, for instance, saving its deepest contempt for Monica Bellucci’s Mrs. Beetlejuice, Delores, a bride so ‘Zilla she reconstitutes herself from her violently dismembered parts for the sole purpose of reuniting with her lost love and murderer, Beetlejuice (Michael Keaton). Lydia (Winona Ryder), the little girl lost from the first film who, by the end, discovered adoptive parents in the now-absent Maitlands, has grown into a ghost-hunting television charlatan engaged to unctuous workshop SNAG Rory (Justin Theroux). As Rory, Theroux appears to be doing Phil Hartman doing Glenn “Otho” Shadix and is asked to carry the comedic load of this thing for far too long. (It’s like showing up for Patti Lupone and getting fucking Florence Foster Jenkins for an hour.) Then there’s young Astrid (Jenna Ortega), Lydia’s kid, who resents her mother for being a nutjob and her dad (Santiago Cabrera) for becoming piranha food early in her life.

TIFF ’24: Paying for It

September 6, 20242024, Authors: Bill Chambers, Canada, Comedy, Film Festivals, TIFF

**/****
starring Dan Beirne, Emily Lê, Andrea Werhun, Noah Lamanna
written by Sook-Yin Lee, Joanne Sarazen, based on the graphic novel by Chester Brown
directed by Sook-Yin Lee

by Bill Chambers Paying for It director Sook-Yin Lee is the ex-girlfriend of Toronto cartoonist Chester Brown. They broke up in the late ’90s when Lee fell in love with another man but continued living together. Overhearing the petty squabbles between Lee and his replacement, Chester gained a new appreciation for bachelorhood and swore off romantic relationships for good. To satisfy his sexual needs, he began to frequent prostitutes and, over the next few years, amassed enough material for a graphic novel. Part confessional memoir, part manifesto arguing for the decriminalization of prostitution, Paying for It was published in 2011 with an introduction by the king of porny cartoons himself, R. Crumb, who describes Brown as “a real connoisseur in the world of professional sex workers.” Now Lee has adapted the, er, fruits of Brown’s labour for the screen–which is quite the lede in itself (Woman Makes Movie of Ex’s Autobiography), but she also accounts for her whereabouts during Chester’s misadventures, fleshing out her ghostly appearances on the page into a full-blown character arc. Women have been consigned to the fringes of so many biopics that an artist’s former lover hacking into his autobiography feels nothing short of radically feminist. It’s also something of a tonic, as the book’s blunt assessments of the ladies Brown solicits can read as casual misogyny.

Borderlands (2024)

August 11, 20242024, Action, Adventure, Authors: Walter Chaw, Comedy, Sci-Fi, Theatrical, Thriller

½*/****
starring Cate Blanchett, Kevin Hart, Jack Black, Jamie Lee Curtis
screenplay by Eli Roth and Joe Crombie
directed by Eli Roth

by Walter Chaw Borderlands is what happens if you stop evolving as a human being when you’re a privileged, 16-year-old, cis-gendered, heterosexual male. When you are a mess of hormones and your prefrontal lobe has not finished growing–has barely even started growing, truth be known. Remember the uncontrollable and inexplicable boners? The constant fear and self-loathing that results in your actively seeking out groups you perceive to be vulnerable in order to predate upon them and make yourself bigger? You are violent and emotional and wrapped up in your melodrama. You might pretend that you wrote that song by Counting Crows because you are well aware you’ve done nothing of note and, based on the emptiness inside, probably never will. Yet you believe the world is for you, since you’ve never learned any differently from Dad, the doctor/professor, and Mom, the artist. I read somewhere that dolphins stopped evolving because there was no need: the food was plentiful, and they reached the top of the food chain. I believe certain people stop evolving in the same way because interpersonal and professional success was handed to them, so they didn’t need to develop curiosity, empathy, or humility. I’ve heard that dolphins, incidentally, are assholes, too.

Fantasia Festival ’24: A Samurai in Time

July 31, 20242024, Action, Authors: Walter Chaw, Comedy, Fantasia Festival, Film Festivals, Japan, Time Travel

***/****
starring Makiya Yamaguchi, Norimasa Fuke, Rantaro Mine, Yuno Sakura
written and directed by Junichi Yasuda

by Walter Chaw Jun-ichi Yasuda’s A Samurai in Time is a lightweight, nostalgia-streaked, deceptively sad little flick in which a bedraggled Edo-period samurai named Kosaka Shinzaemon (Makiya Yamaguchi) finds himself, at the moment of his most meaningful duel against the evil Kyoichiro Kazami (Ken Shonozaki), finds himself transported to the present and mistaken for an extra on a samurai television show. Guided by old-world decorum and generally astonished as a fish-out-of-water, he falls under the kind auspices of script supervisor Yuko (Yuno Sakura), who takes him under her wing and helps him get progressively better roles as the sort of fight extra–a kiraeyaku–who “gets slashed” in jidaigeki productions like hers. A Samurai in Time doesn’t break any new ground, but it trods those worn boards with a spring in its step. I loved a moment where Kosaka tastes a little dessert and, in horror, asks if they made a mistake giving it to someone as lowly as he. When told that anyone has a right to eat such miracles in modern Japan, he weeps and declares his relief that a country he left in war and on the brink of collapse would become such a generous, egalitarian society as to treat all its citizens, from top to bottom, as royalty. I appreciate science-fiction that’s aspirational rather than apocalyptic. It’s hard to see sometimes how far we’ve come.

Deadpool & Wolverine (2024)

July 26, 20242024, Action, Adventure, Australia, Authors: Walter Chaw, Canada, Comedy, New Zealand, Sci-Fi, Superhero

**½/****
starring Ryan Reynolds, Hugh Jackman, Emma Corrin, Matthew Macfadyen
written by Ryan Reynolds & Rhett Reese & Paul Wernick & Zeb Wells & Shawn Levy
directed by Shawn Levy

by Walter Chaw What’s legitimately fascinating about Shawn Levy’s Deadpool & Wolverine is how much of its humour is based on idiotic producer’s notes and franchise-killers. It’s essentially the manifestation of the concept of irony, and it relies entirely on an individual’s knowledge of the last twenty years of “Access Hollywood”/TMZ culture: the public and private failures of the rich and famous, like who Jennifer Garner’s ex is and how Marvel hasn’t figured out how to launch another Blade movie even though Wesley Snipes and Guillermo del Toro are both right fucking there. You don’t need to have watched all of these latex flicks and their television spin-offs or to have read the comics, but it helps in appreciating the Shrek-ness of it all, I suppose, absolutely the lowest form of endorphin-mining. We have reached tentpole filmmaking as micro-transactional phone game: 99¢ to unlock a new costume, another $1.99 to play as Lexi Alexander’s Punisher–you know, the good one. It works to the extent it works because you’re like me and you watched the X-Men cartoon in its first run and have always lamented that they couldn’t figure out how to make Gambit cool in the live-action universe. The entire midsection of Deadpool & Wolverine, in fact, takes place on The Island of Misfit Toys for nerd detritus (remember that appalling multiverse sequence in The Flash? Like that, but with living actors), more or less, and manages, against every expectation, to be a little bit touching. The film works like a roast/eulogy for thinking we wanted a Marvel Cinematic Universe. It’s as if we’re all Regan waking up with a bad Pazuzu hangover. What the fuck did we do? What the fuck is wrong with us?

Fantasia Festival ’24: Bookworm

July 21, 20242024, Adventure, Authors: Walter Chaw, Comedy, Family, Fantasia Festival, Film Festivals, New Zealand

**½/****
starring Elijah Wood, Michael Smiley, Nell Fisher
screenplay by Toby Harvard
directed by Ant Timpson

by Walter Chaw Kiwi jack-of-all-trades Ant Timpson’s sophomore feature after his strong hyphenate debut Come to Daddy reunites him with that film’s star, Elijah Wood. Bookworm, a quiet, charming echo of Hunt for the Wilderpeople, tells a familiar tale of wayward fathers and precocious daughters in a light, warm-hearted way. The girl is 11-year-old Mildred (Nell Fisher), and her dad is failed illusionist Strawn (Wood). When Mildred’s mother, Zo (Morgana O’Reilly), suffers a terrible accident, landing her in a coma, Strawn materializes out of the past to reunite with the child he sired but abandoned to pursue his dreams of becoming the next David Copperfield. Meanwhile, Mildred is convinced that if she can find proof of the Canterbury Panther, a legendary cryptid that allegedly lives in the New Zealand wilderness, she’ll be able to bring her mother back from the brink. Of course, the $50,000 prize money wouldn’t hurt, either. The problem is that Strawn is fairly useless as a father and even more so as an outdoorsman, but working in their favour is Mildred’s confidence and Strawn’s desire to finally do the right thing here in Mildred and Zo’s moment of crisis. Hilarity ensues.

Ferris Bueller’s Day Off (1986) – 4K Ultra HD

July 15, 2024****/****, 1980s, 2024, 4K Ultra HD, Authors: Bill Chambers, Comedy, FFC Must-Own, John Hughes, Teen

****/**** Image A+ Sound A- Extras B+
starring Matthew Broderick, Alan Ruck, Mia Sara, Jeffrey Jones
written and directed by John Hughes

by Bill Chambers I often begin these autopsies of John Hughes’s oeuvre by regurgitating some lore about how the film in question came to be. In the case of Ferris Bueller’s Day Off, I want to correct a faux pas I made on Twitter. “I find it fascinating,” I tweeted, “that in test screenings they all hated Ferris Bueller’s girlfriend and John Hughes figured out it was because of one line where she criticizes him. They cut it and her likability quotient skyrocketed.” (“Fascinating and depressing,” I added in a follow-up.) In actuality, the line had nothing to do with Ferris’s girlfriend cutting him down to size. I should’ve refreshed my memory of the incident beforehand, say by rereading this passage from A Long Time Ago in a Cutting Room Far, Far Away (reviewed here), the 2019 memoir by the movie’s editor, Paul Hirsch:

Beverly Hills Cop: Axel F (2024)

July 7, 20242024, Action, Authors: Walter Chaw, Comedy, Crime, Eddie Murphy, Streaming, Thriller

*½/****
starring Eddie Murphy, Joseph Gordon-Levitt, Taylour Paige, Kevin Bacon
screenplay by Will Beall and Tom Gormican & Kevin Etten
directed by Mark Molloy

by Walter Chaw Two things about Beverly Hills Cop IV, or Axel F if you’re nasty: 1) it’s so exhausted, there’s plenty of time to think through what these films are really about, and 2) there’s an existential horror attached to watching ageing idols trapped in endless iterations of themselves always, of course, but especially when they’re asked to continue to do the things they are no longer capable of doing. I’m thinking in particular of how sad it is to feel patronizing towards Harrison Ford after spending a lifetime in awe of him as an Übermensch in galaxies far, far away, booby-trapped tombs about to be robbed, or the Japanese-colonized Los Angeles of an eternal tomorrow just a few days away. Seeing him attempt to be young Indiana Jones in The Dial of Destiny is…pathetic? I’m not saying I could do better; I’m saying in my glorious prime, I could never have given performances as perfectly physical as Ford did, and today, still 30 years his junior, I can’t get off my sofa without noises erupting from every part of my body. I’m saying it would be like if Michael Jordan suited up again to attempt one more NBA season at the age of 61. It’s like breaking up a brawl at the old-folks’ home. They say the toothless get ruthless, though in my experience, they get brittle and out of breath. The Eddie Murphy of Martin Brest’s Beverly Hills Cop was lithe and dangerous, echoing the Eddie of 48Hrs., who could fight a hulking Nick Nolte to a draw. Of the dozens, maybe hundreds of times I watched Beverly Hills Cop, the image of Murphy in it that persists for me is of him swinging around in the webbing on the back of a trailer during the opening sequence. He’s quick, strong, dangerous. Now? Now Eddie’s 63 and in amazing shape–but amazing shape for a man who is 63.

Inside Out 2 (2024)

June 15, 20242024, Adventure, Animation, Authors: Walter Chaw, Comedy, Disney, Drama, Family, Japan, Pixar, Theatrical

*/****
screenplay by Meg LeFauve and Dave Holstein
directed by Kelsey Mann

by Walter Chaw Inside Out 2 hasn’t resolved any of the issues I had with the first film, which boil down to if I’m meant to treat this conceit seriously, then you should probably treat it seriously, too. I grew up with Judy Blume and can’t recall a single instance in her books where a young girl’s emotional development was a playground for cheap gags and high concepts. The sequel’s plot is inane, of course: Riley (voice of Kensington Tallman) goes into puberty around the time of summer hockey camp and experiences the complexities of self-doubt, self-loathing, and anxiety attendant to adolescence. All her thoughts and actions are retrofitted around the decisions made by a cadre of anthropomorphized emotions as they battle for supremacy over a TARDIS-like control centre located somewhere, it seems, in Riley’s frontal cortex. The stakes are elevated because Riley is a vulnerable young woman, not because she’s an especially well-developed character. Because she’s blonde, blue-eyed, and adorable, every little thing that doesn’t go well for her is cause for people raised in this culture to tsk and worry. I would go so far as to say the stakes are outsized for what this is, i.e., a nonce of a nothing-burger, precisely because we are hardwired to cherish this species of porcelain vessel independent of any personal knowledge of her. She is a pinnacle of a cultural ideal, and if she is troubled, we are troubled.

Lisa Frankenstein (2024) [Collector’s Edition] – Blu-ray Disc

June 6, 20242024, Authors: Bill Chambers, Blu-ray Disc, Comedy, Horror, Romance, Teen, Zombie

*½/**** Image A Sound A- Extras B-
starring Kathryn Newton, Cole Sprouse, Liza Soberano, Carla Gugino
written by Diablo Cody
directed by Zelda Williams

by Bill Chambers During what I suppose constitutes the climax of Zelda Williams’s Lisa Frankenstein, the “UK Surf” remix of The Pixies‘ “Wave of Mutilation” cues up on the soundtrack. It’s broadly fitting–three people have been mutilated over the course of the picture, and our antiheroine is preparing to claim a fourth victim with an axe–and period-appropriate. (“Wave of Mutilation” came out in 1989, the year in which the movie takes place.) It’s also, like a lot of the creative decisions driving Lisa Frankenstein, amateurish in its literal-mindedness, derivativeness (anyone who knows anything will tell you that “Wave of Mutilation” (UK Surf remix) belongs to Pump Up the Volume), and clunkiness, with the song fighting a losing battle to be heard through the prophylactic of Isabella Summers’s score. Lisa Frankenstein is the brainchild of writer-producer Diablo Cody, her first horror comedy since Jennifer’s Body, a film I didn’t care for in 2008 but suspect I was wrong about, having watched it back then as some sort of Megan Fox litmus test instead of as its own thing. I’m prepared to accept that I’m similarly wrong about Lisa Frankenstein–that I’m too old and male for it, that it will endear itself to me over time, the way today’s trash turns into tomorrow’s treasure. I dunno, though. I don’t think demographics are the issue–Cody conceived it as a distaff Weird Science (hence “Lisa”), and that’s kind of my wheelhouse–and I don’t think Lisa Frankenstein is epochal enough to age like anything other than milk.