Comedy Archives - Page 15 of 77 - FILM FREAK CENTRAL

Snow White and the Seven Dwarfs (1937) [The Signature Collection] – Blu-ray + DVD + Digital HD

February 10, 2016****/****, 1930s, 2016, Animation, Authors: Bill Chambers, Blu-ray Disc, Comedy, Disney, Drama, DVD, Family, Fantasy, FFC Must-Own, Musical, Romance

****/**** Image A Sound A Extras A-
story adaptation Ted Sears, Richard Creedon, Otto Englander, Dick Richard, Earl Hurd, Merrill De Maris, Dorothy Ann Blank, Webb Smith
supervising director David Hand

by Bill Chambers Walt Disney was shooting for the moon with 1937’s Snow White and the Seven Dwarfs, not just his first but the first animated feature. He of the Silly Symphony wanted it to have prestige, fostering an obsessive-compulsive streak within the studio that is curiously reflected in the film’s epic preoccupation with orderliness, cleanliness, and labour. It has the air of manifesto when one considers that of the eight songs on the soundtrack, two, “Whistle While You Work” and “Heigh-ho,” are about the satisfaction of work¹ while a third, “Bluddle-Uddle-Um-Dum,” is a set of bathing instructions subtitled “The Dwarfs’ Washing Song.” In her unrelenting fastidiousness, Snow White reeks of self-portraiture (armchair Freuds might speculate on Snow White’s other qualities, such as her being so perfect as to drive the competition mad, as they apply to Disney, already an Ozymandian figure armed with multiple Academy awards by the time of production), and it’s because of this that her predilection for housework doesn’t feel like the typical chauvinism abundant in the Disney canon. When she scolds two squirrels for sweeping dirt under the carpet, it’s difficult not to hear it as an ethos.

Hail, Caesar! (2015)

February 6, 2016****/****, 2016, Authors: Walter Chaw, Coen Brothers, Comedy, Drama, Musical, Mystery, Scarlett Johansson, Theatrical

Hail, Caesar!: A Tale of the Christ
****/****
starring Josh Brolin, George Clooney, Alden Ehrenreich, Ralph Fiennes
written and directed by Joel & Ethan Coen

by Walter Chaw Halfway through the Coen Brothers’ Hail, Caesar!, studio head/fixer Eddie Mannix (Josh Brolin playing Jon Polito) stands against the opulent, grand entrance to his golden-age Hollywood movie studio and talks about the coming of the future. There’s a scene in a Chinese restaurant where someone pulls out a photograph of a mushroom cloud taken at a freshly-nuked Bikini Atoll and declares, solemnly, that it’s a picture of the future. There’s another scene where waves crash against a pair of rocks in a direct callback to Barton Fink, the Coens’ other golden-age Hollywood homage, outside the bachelor-pad mansion of Gene Kelly-type Burt Gurney (Channing Tatum), who happens to be the head of an enclave of Communists (are there ten?) calling themselves “The Future.” The Coens at their best describe spiritual blight. They do it in a lot of ways, across multiple genres. Hail, Caesar! opens with Mannix, a real-life figure in Hollywood tangentially connected to George Reeves’s death (murder? Suicide? Who knows?), in a confessional just a day after his last confession and a day before his next. (“Really, it’s too much Eddie. You’re not that bad.”) Mannix–more fictional than actual, it should be noted, in exactly the same way that O Brother, Where Art Thou? is the most faithful adaptation of The Odyssey there ever was despite having almost no relationship to the literal text–indeed doesn’t seem all that bad when most of what he confesses is lying to his wife (Alison Pill) about quitting cigarettes. “It’s hard, Father.” And he cries. The movie is about spiritual blight, and the sin that Mannix is constantly trying to confess is that he doesn’t know what he believes. For me, the Coens are at their best when they tackle this spiritual blight through the prism of artists and their attempts to create. Every artist is a Frankenstein. Every work is a monster.

Zoolander (2001) [Special Collector’s Edition] – DVD|Blu-ray Disc (2016)

February 3, 20162000s, 2016, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, DVD, Satire

**½/****
DVD – Image A Sound A Extras A
BLU-RAY – Image B+ Sound A Extras A
starring Ben Stiller, Owen Wilson, Will Ferrell, Christine Taylor
screenplay by Drake Sather & Ben Stiller and John Hamburg
directed by Ben Stiller

by Walter Chaw Ben Stiller has a very particular genius for satirical imitation. When he says that he based Derek Zoolander on “some cross between Jason Priestly and Luke Perry,” one can be sure that the offspring is an uncomfortably dead-on collection of insouciant pouts, long blank stares, and dim-witted pronouncements. We know that Stiller is good at destroying celebrity; the bigger question is can an extended sketch featuring one of his burlesques sustain interest and consistently inspire laughter? The answer is “fitfully,” so, yes and no.

The Intern (2015) – Blu-ray + DVD + Digital HD

January 25, 20162015, 2016, Authors: Bill Chambers, Blu-ray Disc, Comedy, DVD, Robert De Niro

**/**** Image A Sound A Extras D+
starring Robert De Niro, Anne Hathaway, Rene Russo, Anders Holm
written and directed by Nancy Meyers

by Bill Chambers Back to back, literally, Robert De Niro made Mean Streets, The Godfather Part II, Taxi Driver, 1900, The Last Tycoon, New York, New York, The Deer Hunter, Raging Bull, True Confessions, The King of Comedy, and Once Upon a Time in America. Brazil, The Mission, Angel Heart, Midnight Run, Goodfellas, Cape Fear, This Boy’s Life, Casino, and Heat punctuate his next ten years as a working actor. So I’ve never really felt the urge to bash De Niro for his late-period career choices, which are mostly about maintaining a standard of living, funding entrepreneurial bids, and mellowing with age. (This is not a man who owes us anything.) And his persona–whatever it is, can we agree that his most volatile roles inform it?–has not been so debauched by decades of ham that there’s not a bit of a subversive kick to seeing him play Mary Poppins, complete with luggage though sans umbrella, in Nancy Meyers’s The Intern.

Dirty Grandpa (2016)

January 23, 20162016, Authors: Walter Chaw, Comedy, Road Movie, Theatrical, ZERO STARS

ZERO STARS/****
starring Robert De Niro, Zac Efron, Aubrey Plaza, Dermot Mulroney
written by John M. Phillips
directed by Dan Mazer

by Walter Chaw It’s one of those boilerplates about an uptight guy on the eve of marrying a harridan taking a road trip with a free spirit to discover that maybe he doesn’t want to spend the rest of his life (or the few years until he secures a divorce–the subtext of these things is always curiously traditional) selling out to The Man. Jason (Zac Efron) is that potential sell-out. You can tell because he dresses like the villain from an Eighties college sex comedy, is a corporate lawyer, and is engaged to a materialistic bimbo (Julianne Hough) who will justify his unconscionable hedonism by being a secret slut herself in his absence. The best of these films is its prototype, obviously (Capra’s It Happened One Night), but the one I return to most often is Bronwen Hughes’s curiously sticky–if only to me–Forces of Nature. The high concept this time around is that De Niro is the free-spirit road-tripper in a role that asks him to, literally at one point, be rapping grandmother Ellen Dow from The Wedding Singer. The imposition of this masterplot is really the only thing separating the film from “Jackass” spin-off Bad Grandpa, just as one word is the only thing separating the two concepts. De Niro’s Dick (and you do indeed get to see his dick–though admittedly, it’s probably a stunt dick) is a former Green Beret, by the way, which explains/doesn’t explain why he gets a Presidio fight sequence against a bunch of black hoods who’ve been taunting a gay black guy Dick has also recently been taunting.

Joy (2015)

December 25, 20152015, Authors: Walter Chaw, Biopic, Comedy, Drama, Robert De Niro, Theatrical, ZERO STARS

ZERO STARS/****
starring Jennifer Lawrence, Robert De Niro, Edgar Ramirez, Bradley Cooper
screenplay by David O. Russell
directed by David O. Russell

by Walter Chaw After demonstrating with his last few movies that he’s not Martin Scorsese, David O. Russell has decided to kill two birds with one stone by demonstrating that he is neither Wes nor P.T. Anderson, either. In Joy, he proves that marrying Wes Anderson’s whimsical solipsism with P.T. Anderson’s Pynchon-esque biographical sketches is an amazingly stupid thing to do–one of those science experiments in ’50s B-movies that everyone knows is a bad idea except for the idiot doing the splicing. Yes, Joy is that bad. When it’s not being unbearably twee, it’s perving on Jennifer Lawrence like von Sternberg on Dietrich. But Joy ain’t no Blue Angel, and while I like Lawrence fine, I guess, Russell is sure as hell no von Sternberg. What I’m saying is that Russell is a terrible, glitchy director with a thing for Lawrence that he manifests by shooting her walking towards the camera with sunglasses, without sunglasses, with a wig and without a wig, in slow-motion or at normal speed, in daytime, nighttime; he lights her with the sun, with spots, with discretes, from below, and especially from behind–all in a kind of PENTHOUSE glamour. The only part of Joy that isn’t unwatchable is a sequence shot precisely like identical sequences in P.T. Anderson’s Magnolia, where an obviously tense Bradley Cooper, playing QVC programming director Neil Walker, shows the titular domestic goddess Joy (Lawrence) around the studio. I take it back, those were pretty bad, too. The only thing preventing Joy from being the worst movie of the year is that Pixels happened.

The Good Dinosaur (2015); The Revenant (2015); The Hateful Eight (2015)

December 25, 20152015, Adventure, Animation, Authors: Walter Chaw, Comedy, Directors: Quentin Tarantino, Disney, Drama, Family, Mystery, Pixar, Revenge, Theatrical, Thriller, Western

THE GOOD DINOSAUR
***/****
screenplay by Meg LeFauve
directed by Peter Sohn and Bob Peterson

THE REVENANT
***½/****
starring Leonardo DiCaprio, Tom Hardy, a bear, angry junketeers
screenplay by Mark L. Smith & Alejandro G. Iñárritu
directed by Alejandro G. Iñárritu

THE HATEFUL EIGHT
**/****
starring Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh, Bruce Dern
written and directed by Quentin Tarantino

by Walter Chaw Arlo (voiced by Raymond Ochoa) is the runt in a frontier family of stylized dinosaur herbivores who struggles to live up to the example of towering Poppa (Jeffrey Wright) on the family farmstead. He’s clumsy, though, and easily frightened, and when he finds himself incapable of killing a mammalian vermin (Jack Bright), he unwittingly causes the death of his father. Arlo joins forces with the vermin, eventually, dubbing him “Spot” (he’s a little orphaned human boy) and relying on him to forage sustenance for him in the wild world outside. Spot, in return, relies upon Arlo for protection in the film’s final set-piece as Spot is set upon by a flock of fundamentalist pterodactyls. Pixar’s The Good Dinosaur is, in other words, a horror western about a frontier bespotted with monsters and monstrous ideologies, set right there at the liminal space–as all great westerns are–between the old ways and the encroaching new. It’s far more disturbing than has generally been acknowledged and, in being disturbing, it offers a tremendous amount of subtext layered onto a deceptively simple story. It posits an Earth where the dinosaur-ending comet misses impact, leading to millions of years of evolved adaptations and ending, as the film begins, with the emergence of homo sapiens on schedule, but skittering around on all fours and howling at their saurian masters. The Good Dinosaur is an existential horrorshow.

Krampus (2015)

December 7, 20152015, Authors: Walter Chaw, Christmas, Comedy, Horror, Theatrical

**/****
starring Adam Scott, Toni Collette, David Koechner, Krista Stadler
written by Todd Casey & Michael Dougherty & Zach Shields
directed by Michael Dougherty

by Walter Chaw I used to have a collection of short stories edited by Isaac Asimov, The Twelve Frights of Christmas. Ramsey Campbell’s “The Chimney” is anthologized therein, and though it’s not directly a Krampus story, it’s sort of a Krampus story and was, at least, the first time I’d been introduced to the concept of something like an anti-Santa. It’s a great story. Michael Dougherty’s Krampus is not great, but with all the lulls and jokes misfiring, it does give you plenty of time to think about other things. (I didn’t like his Trick ‘r Treat either.) What works about the film are its first twenty minutes or so, where Dougherty seems to be setting up an unpleasant, nasty little commentary on the commodification of Christmas. There’s trouble, though, when the parts of your movie that work are the parts that compare best to Jingle All the Way. I’ll say, too, that there’s genuine delight in the appearance of weird snowmen on the lawn during a blizzard blackout, stranding a shitty family alone with their thoughts while a German alpine demon lurks about outside–as well as hope, however self-deluding and fleet, that Dougherty’s going to pay off the early abduction of the second-most sympathetic child of six. Alas, it’s ultimately as compromised as Trick ‘r Treat. The last five minutes are a masterpiece of playing both sides against the middle and pandering to an intended middlebrow audience. Like its PG-13 rating, Krampus is a devil’s bargain between horror film and family film. It’s the kind of thing that only really worked when it was Gremlins.

Tales from the Crypt Presents Demon Knight (1995) [Collector’s Edition] + Tales from the Crypt Presents Bordello of Blood (1996) [Collector’s Edition] – Blu-ray Discs

November 30, 20151990s, 2015, Action, Authors: Walter Chaw, Blu-ray Disc, Comedy, Horror, Scream/Shout! Factory, Thriller, Vampire

Demon Knight
***/**** Image B+ Sound B Extras A
starring Billy Zane, William Sadler, Jada Pinkett, Brenda Bakke
written by Ethan Reiff & Cyrus Voris & Mark Bishop
directed by Ernest Dickerson

Bordello of Blood
*/**** Image B Sound C+ Extras A
starring Dennis Miller, Erika Eleniak, Angie Everhart, John Kassir
screenplay by A.L. Katz & Gilbert Adler
directed by Gilbert Adler

by Walter Chaw I didn’t have HBO as a kid. Didn’t even have cable. When I went over to friends’ houses, I would spend a lot of time wanting to watch MTV to try to catch up on all the popular culture I was missing. “Remote Control”, the first Jon Stewart show, “Dream On”, “The Kids in the Hall”–each of them represent gaping holes in my pop education. Lump in the Walter Hill-produced “Tales from the Crypt” anthology program with that group of things I knew about but only by title and reputation. My first exposure to the EC Comics-inspired/adapted-from show was through reprints of “Tales from the Crypt” and “Strange Tales” comics during the early-’90s industry boom. Then Ernest Dickerson’s fantastic Tales from the Crypt Presents Demon Knight (hereafter Demon Knight) satisfied every single expectation I had of something seeking to honour the ghoulish, sometimes puerile depravity of William Gaines’s seminal source material. It’s as gory as it is corny and smart as hell for recognizing that those were the only requirements. Doesn’t hurt that the practical-effects work is goopy and inventive. Oh, and the cast is exceptional.

Fantastic Fest ’15: Short Films

October 16, 2015****/****, 2015, Animation, Authors: Walter Chaw, Canada, Comedy, Disability, Drama, Esoterica, Fantastic Fest, Fantastic Fest '15, Film Festivals, Horror, Japan, Romance, Satire, Sci-Fi, Short Films, Sweden, ZERO STARS

by Walter Chaw

The Babysitter Murders ****/**** (d. Ryan Spindell) For certain artists working in the short-film format, I don't have any idea how or why it is they haven't been called up to the big leagues yet. This speaks as much to my prejudice, obviously: there's nothing wrong with the short form. In literature, many of my favourite writers are best in the short form. In film, though, there's so little real opportunity for distribution that it seems a particular shame when guys like Ryan Spindell have only produced shorts. I'm not complaining (his work is excellent), merely hoping he has the means to continue. Spindell's latest, The Babysitter Murders, is so expertly composited that it would be kind of a shame to dissect it at all. Sufficed to say that it unearths a new place to take Wes Craven's Scream meta funhouse, and does it without a hint of smugness or show-off-y insecurity. It's beautifully paced, conceived, and executed. Look at a cooking scene early on, set to "Fast & Sweet" by Mondo Boys feat. Kestrin Pantera–the way it's shot and edited, the way Elie Smolkin's camera stalks and Eric Ekman cuts it all together. The movie's premise–a babysitter alone on a stormy night when a psycho escapes from an asylum–is as rote as they come, but Spindell, as he did with The Root of the Problem and dentists, finds something new to say. The performances are to a one pitch-perfect and the gore is appropriately horrifying; it's a film balanced in that space between hilarity for its excess and hilarity for its brilliance. I'm out of superlatives. Spindell is one of the finest voices working in genre right now, carving out a niche that's neither self-serious nor self-abnegating. He's full of joy, this one, and his movies are treasures.

Aladdin (1992) [Diamond Edition] – Blu-ray + DVD + Digital HD

October 12, 20151990s, 2015, Action, Adventure, Authors: Bill Chambers, Blu-ray Disc, Comedy, Disney, DVD, Family, Musical

***½/**** Image A Sound A Extras A+
screenplay by John Musker & Ron Clements and Ted Elliott & Terry Rossio
directed by John Musker & Ron Clements

Portions of this review, including the first four paragraphs, were originally published on October 5, 2004.

by Bill Chambers Jeffrey Katzenberg may have revived the American animated feature while he was at Disney, but only one of the hits his reign yielded is worth a second viewing. Where 1989’s The Little Mermaid and especially 1991’s nauseating Beauty and the Beast tried to pass themselves off as Golden Age Disney (1937 (Snow White and the Seven Dwarfs)-1950 (Cinderella), for argument’s sake), before a certain stateliness loosened its grip on the house style, 1992’s Aladdin took its cue from Uncle Walt’s twilight years, the Sixties, when he was interested in telling–as he geared up to pass the torch, perhaps–mentor stories (The Sword in the Stone and The Jungle Book) and pop culture had finally caught up with his incongruous predilections for psychedelia and bohemianism. It’s a risk to emulate the period considered the birth of the studio’s Dark Ages, and Aladdin is the least spurious movie of Disney’s renaissance because of it.

Ghoulies (1985)/Ghoulies II (1988) [Double Feature] – Blu-ray Disc

October 7, 20151980s, 2015, Authors: Jefferson Robbins, Blu-ray Disc, Comedy, Fantasy, Horror, Scream/Shout! Factory

GHOULIES
**½/**** Image A Sound B+ Extras B-
starring Peter Liapis, Lisa Pelikan, Michael Des Barres, Jack Nance
screenplay by Luca Bercovici and Jefery Levy
directed by Luca Bercovici

GHOULIES II
***/**** Image A Sound B+ Extras B-
starring Damon Martin, Royal Dano, Phil Fondacaro, J. Downing
screenplay by Charlie Dolan and Dennis Paoli
directed by Albert Band

by Jefferson Robbins Not rip-off, not homage, but something in the water. Luca Bercovici’s 1985 Ghoulies, from the lo-fi film factory of Charles Band, felt on release like a ploy to frack cash out of Joe Dante’s Gremlins from the year before. In fact, it had a parallel development, launching pre-production in 1983 under the working title Beasties and formally premiering in Britain in November of 1984. It also boasts a far weirder strain of presentation than Dante’s peak, something Lynchian that goes beyond the mere presence of Jack Nance. It has its passel of ’80s “teen” types harassed by horrors, sure: the stoner(s), the ladykiller, the nerd–not to mention their attendant ladies, none of whom are given much personality, resulting in a deeply uninteresting film debut for young Mariska Hargitay. But their mannerisms, in large part, are so outré and alienating that it’s at times like watching an underfinanced dinner-theatre preview of 1986’s Blue Velvet. And then the dead warlock bursts out of the ground to be attended by a clutch of grody puppets.

A Brilliant Young Mind (2015)

October 3, 20152015, Authors: Walter Chaw, Comedy, Disability, Drama, Theatrical, UK

X+Y
½*/****
starring Asa Butterfield, Rafe Spall, Sally Hawkins, Eddie Marsan
screenplay by James Graham
directed by Morgan Matthews

by Walter Chaw Reminding most of Camp in that it's ultimately more of a zoo for curiosities than an invitation for empathy, here's A Brilliant Young Mind, which posits, among all the Rain Man things it posits about autism, that the Chinese, besides being good at backflips, are very good at math. For the Chinese, you see, math is like art. It says so in this book that was written over the course of a thousand years. For the type of audience that gets off on those Olympics puff pieces where the Chinese are portrayed as opportunistic monsters who sell their children to the national team, it's a special sort of Eurocentric auto-flattery. The implication, see, is that although you're about to lose to the Chinese, they're still morally inferior to you. The Chinese, you understand, don't love their children. And they're good at math. Also, they're sexually naive, you know, because it's not like Asia is horrifically over-populated or anything. Later, a British guy quotes Keats in relation to how if truth is beauty and beauty is truth, then math must be the most beautiful thing of all. It's that kind of movie. The kind of movie with a score of industrious violin pulls and ambitious, then sad, keyboards. It has a moment where the evil dragon uncle of the Chinese mathlympians shouts, in perfect Mandarin, "What are you two doing?" and the film translates it as, "Are you in a relationship?" It's that kind of movie. You'll like it if you're that kind of person.

Fantastic Fest ’15: Yakuza Apocalypse

October 2, 20152015, Action, Authors: Walter Chaw, Comedy, Fantastic Fest, Fantastic Fest '15, Horror, Japan, Vampire

**½/****directed by Takashi Miike by Walter Chaw Takashi Miike makes one, sometimes two, sometimes three movies a year, which is not so remarkable as the fact that they're often exceptional. He's as fecund as a Fassbender and hasn't shown signs of the same catastrophic burnout. Even his middling projects have moments in them to recommend--no less so his latest, Yakuza Apocalypse, a return to the Yakuza genre that gave him mainstream credibility (such as it was) and the supernatural horror genre that gave him cult immortality. This one isn't about anything that I could ken, really, but it is technically…

Sleeping with Other People (2015)

September 30, 20152015, Authors: Walter Chaw, Comedy, Romance, Theatrical, ZERO STARS

ZERO STARS/****
starring Jason Sudeikis, Alison Brie, Adam Scott, Amanda Peet
written and directed by Leslye Headland

by Walter Chaw Massively over-written, smug, baselessly self-assured, and world-weary in the way that people who watch a lot of "Sex and the City" and "Girls" are world-weary, Leslye Headlund's rank, unwatchable Sleeping with Other People is like that date that Death goes on "Family Guy" with the girl who tells Him you can't hug your kids with nuclear arms. To say it's awful is unfair; better to say it's tedious as shit. It's a chronicle of insufferable, half-wit narcissists and, given the success of stuff like Obvious Child, hell, it's worth a try, right? Honestly, though…and no one's asking, but…wouldn't it be better to not have a career than be tied to great white albatrosses like this? Sleeping with Other People is like Diablo Cody on steroids, complete with an entire album's worth of soft-alt rock and Lilith Fair covers on the soundtrack. And much like Cody's script for Juno that has references to Soupy Sales flying from the mouths of babes, this gem has a college girl in 2002 warning a prospective beau not to reference The Graduate on learning that her name is "Elaine" when, you know, "Seinfeld". Jesus, c'mon.

Fantastic Fest ’15: Gridlocked

September 29, 20152015, Action, Authors: Walter Chaw, Canada, Comedy, Fantastic Fest, Fantastic Fest '15, Film Festivals, ZERO STARS

ZERO STARS/****
starring Dominic Purcell, Stephen Lang, Trish Stratus, Danny Glover
screenplay by Rob Robol & Allan Ungar
directed by Allan Ungar

by Walter Chaw Danny Glover's been too old for this shit for over thirty years now, making it all the more tragic to find him in Allan Ungar's dipshit remake of The Hard Way that nobody wanted, Gridlocked, which magnifies its crimes by also being the second remake of Assault on Precinct 13 that nobody wanted. A desk jockey checking IDs at the police station, Glover's Sully advises about 45 minutes in that he is, yes, too old for this shit. The only thing missing is a wry saxophone riff when he says it. At least Gridlocked, as it's pissing on the corpse of the literally dozens of better movies it's ripping off, had the decency to let Michael Kamen rest in peace, if nobody else. It's uniquely awful.

TIFF ’15: The Family Fang

September 27, 20152015, Authors: Bill Chambers, Comedy, Drama, Film Festivals, Mystery, TIFF

**½/****
directed by Jason Bateman

by Bill Chambers David Lindsay-Abaire is the poor man's Tom Stoppard and Jason Bateman smothered whatever vulgar charms his directorial debut Bad Words may have possessed in an incongruous autumnal burnish, but they have a neutralizing effect on each other: Together, the strained seriousness of the former and the preposterous seriousness of the latter (Bateman shoots this one like The Godfather) create a curiously palatable harmony. The Family Fang is every inch The Skeleton Twins or some other brother-sister Sundance yarn but with a wonderfully specific source for the siblings' dysfunction: raised by performance artists, they were from a young age incorporated into their parents' notorious act, which tended to prey upon the sympathies of innocent bystanders. (In a very funny early flashback, for example, they stage a mock bank robbery that ends in the alleged shooting death of matriarch Camille Fang (Kathryn Hahn here, Maryann Plunkett in present day).) As adults, Buster (Bateman) and Annie (Nicole Kidman, looking supernaturally restored to her Peacemaker days) have distanced themselves from their past and channelled any lingering impulses towards exhibitionism into the more legitimate avenues of writing and acting, respectively. When Buster is shot in the head with a potato (don't ask), he is summoned home and drags Annie with him to serve as a buffer. Back in the family nest, father Caleb (Christopher Walken) immediately tries to rope them into a "piece," but not only have they moved on–so has society at large, now too insular to be a viable canvas for the Fangs' art. Walken's fury as he quits a prank involving counterfeit coupons is poignant; one senses a touch of the actor's own frustration with the world no longer appreciating his unique genius.

TIFF ’15: Mr. Right

September 19, 20152015, Action, Authors: Bill Chambers, Comedy, Film Festivals, TIFF

½*/****directed by Paco Cabezas by Bill Chambers Max Landis follows up his American Ultra script with another action comedy about slick killing machines but abandons the Manchurian Candidate backstory in a grotesquely cynical fashion: When Sam Rockwell throws knives at new girlfriend Anna Kendrick to prove she can catch them, his conviction is based on nothing more substantial than her being the star of this particular show. Over and over, Mr. Right acknowledges that it's a cartoon, and not in an enjoyably meta, Duck Amuck sort of way--more in a "you don't care, so why should we?" sort of way.…

Telluride ’15: Rams

September 15, 20152015, Authors: Walter Chaw, Comedy, Drama, Film Festivals, Iceland, Telluride, Telluride 2015

Hrútar
***½/****
starring Sigurður Sigurjónsson, Theodór Júlíusson, Charlotte Bøving, Gunnar Jónsson
written and directed by Grímur Hákonarson

by Walter Chaw There's a little of Zacharias Kunuk's Atanarjuat in Grimur Hákonarson's Rams. Something of the formal beauty of La cinquième saison and the deadpan absurdity of Aki Kaurismaki's films as well. It is a story of brothers in conflict. More-functional recluse Gummi (Sigurður Sigurjónsson) and less-functional recluse Kiddi (Theodór Júlíusson) are both hidden away in remote cabins in Iceland, tending to herds of sheep bred from a legendary stag whose lovingly-taxidermied head decorates Gummi's hovel's entryway. The picture opens in tension at a sheepherder's competition, where the prize stock is prodded and judged. And it ends in tension, as the two brothers, who haven't spoken in 40 years, must deal with the loss of everything while, just outside, an allegorical–but literal–storm obliterates the petty concerns of mortal men.

Telluride ’15: Anomalisa

September 11, 2015****/****, 2015, Animation, Authors: Walter Chaw, Charlie Kaufman, Comedy, Esoterica, Film Festivals, Telluride, Telluride 2015

****/****
screenplay by Charlie Kaufman
directed by Duke Johnson & Charlie Kaufman

by Walter Chaw Writing about a Charlie Kaufman film, if you do it honestly, is writing about yourself. I’ve said before, and it helps me to repeat it, that I don’t really understand Kaufman’s films, but that they do understand me. Kaufman is the most important, innovative voice in American cinema since Orson Welles, and though he has enjoyed more autonomy in expressing that voice than Welles, I would argue that the seven years separating his directorial debut, Synecdoche, New York, and this follow-up, a stop-motion collaboration with Duke Johnson called Anomalisa, suggest that it’s not as easy as it should be. Certainly the journey that Anomalisa has taken is far from conventional, from Kaufman play written under the pseudonym “Francis Fregosi,” through a Kickstarter campaign, through the general challenge of making an adult-themed animation in a country that sees animation as a genre not a medium, to now this tour of festivals, looking for distribution. The play was introduced as part of a Carter Burwell project titled “Theater of the New Ear”. It was a late replacement on a Kaufman/Coen Bros. double-bill when the Coens “dropped out” at the eleventh hour, and this unknown Fregosi’s piece took its place.