Katniss returns to face her oppressors in the final installment of THE HUNGER GAMES franchise, but does it pack the same punch as the first three? You know it does!
Panem is in the midst of war, and Katniss is preparing to take President Snow (Donald Sutherland) out. On a mission as ‘the face’ of the war, she and her team of friends, Gale (Liam Hemsworth), Finnick (Sam Claflin) and Peeta (Josh Hutcherson) continue try to liberate the citizens throughout the districts. Although they are out of the games, they face greater dangers than they ever have. This time, the entire nation depends on it.
The tone of this film is much different from the previous films. It’s serious, sure, but there are a couple of new surprises. Director Francis Lawrence leaned more on CGI for some of the dangerous beings in this film, and I found that there were a bunch of jump scares. I don’t recall any of the other films making me jerk out of my chair. It makes sense for this film to be a bit darker in tone, seeing as how the entire country is at war, and part of the film is shot inside underground pipes, but the changes definitely stick out.
The cast is incredible, as usual, in these films. Lawrence, however, is even more dynamic in her final portrayal of Katniss than I thought possible. It’s incredible to see her character grow, and Lawrence does a fantastic job of showing her evolution, both internally and externally.
It takes a bit for the film to perk up, and move into the battle scenes. If you’re expecting all out war, you’re going to have to wait a bit. Keep in mind that this film is over two hours. They can’t just dive into the meat and potatoes! Have some appetizers first.
If you’ve read the books, you are already familiar as to how the story ends. This is the same for the film. Although I enjoyed the ending, I didn’t find it satisfying… and that’s ok. I sort of like the way they slowly tied things up. Not to spoil anything (which means, if you don’t want to risk learning new information, stop reading), but there isn’t a giant triumph of victory. It just, kind of, happens. Afterwards, she slowly goes back to her old life. I enjoy that. What do we expect? A huge victory, and then a picture perfect life of spoils? This ending is a true Katniss ending. It’s humble, and it gives the audience more to grasp onto.
Let’s face it… You’re going to go see this film, and you should! You’ll be happy you did, and may the odds be ever in your favor!
Good golly Miss Holly, the big bird’s not in the oven and here we’ve got the second Christmas movie exploding onto screens across the country. Yes, the stench of LOVE THE COOPERS is still wafting through the multiplex as this new holiday comedy debuts. But there’s a big difference, well several really. This new comedy definitely and defiantly earns its ‘R’ rating, this thanks in part to its main star, the new king of “stoner”, slacker comedies, Mr. Seth Rogen. After flexing his dramatic muscles in STEVE JOBS as Steve Wozniak, he’s returned to his comfort zone as part of a comedy trio this time out. He’s re-united (and it feels so good) with a former co-star, Joseph Gordon-Levitt. The two were memorable best buds in 2011’s (can it really be four years?) 50/50. And rounding out the threesome, is a survivor of the COOPERS catastrophe, Anthony Mackie (hey, he’s an Avenger!). Now this holiday doesn’t all take place on the morning of December 25th, but rather the time that many folks do their main celebrating, on THE NIGHT BEFORE.
The story begins many, many nights prior to the title. About a dozen or so years really, when twenty year old Ethan (Levitt) lost both parents in a pre-Christmas car crash. His very bestest buddies Isaac (Seth Rogen) and Chris (Anthony Mackie) made a pledge that they would always be there for Ethan every Christmas Eve. The evening of the 24th became an annual night of debauchery for the threesome. On the first night of boozing they hear of a legendary holiday party, the “Nutcracker Ball”, a colossal orgy only accessible through very-prized secret invitations. The boys vowed to acquire an invite, but every year ends in failure. Jump ahead to today, as the friends prepare for what will mostly likely be their final Eve together. Isaac is about to begin a family with his wife Betsy (Jillian Bell), actually she may give birth before this night’s over. And Chris is now a famous NFL star (thanks to some…ahem…chemical enhancement), making it tough to go on the town with the buds. Luckily, while working a temp gig, Ethan scores three NB tickets. As the fellows await the party location (at 10 PM they dial a phone number for the spot), they meet many strange characters and have several bizarre adventures during this last epic “night before”.
Of the trio, the main focus, the “plot propeller” is likable everyman Gordon-Levitt, whose Ethan is still an oddly adrift thirty-something. We get that he’s searching for something (romance, career), but just can’t zero in on it. Much as he did in the delightful, but astoundingly unseen THE WALK, Gordon-Levitt’s considerable charms endear him to us, even as his character makes some shaky choices. Plus he has a great “elf face”. Rogen has a different sort of charm, more like the hard-charging frat brother we wanted to hang out with. Isaac’s a bit more mature than many of his “man-child” roles, here best seen in his utter panic over the prospect of impending fatherhood, believing that he’ll mess up his offspring (which makes for a very funny fantasy flash-forward). He’s given permission to indulge by his wife who even presents him a box of assorted…goodies. His over-indulgence leads to Rogen’s intense “I’m still in control” wide-eyed stare that is simply hysterical. Beside having great chemistry with the guys, Rogen’s a terrific partner to the scene-stealing Bell (so wonderful in GOOSEBUMPS and 22 JUMP STREET). She adores her addled hubby, but will cut him to the quick with a look or with her acid tongue. Somebody give Bell a starring film role, now please! Mackie’s very convincing as the fame-obsessed athlete. Happily he’s allowed to use his high energy comic timing, with none of the shackles from that recent Christmas clunker present. Much like the Rogen 2013 hit THIS THE END, this movie is stuffed to the gills with familiar comedians and comic actors, but to name them would be to spoil the surprises (don’t wanna’ unwrap those gifts under the tree now). I will hint that an actor who gave two terrific dramatic performances earlier this year shines as a most magical pot dealer. Oh, and Miley Cyrus is a hoot as herself , tweaking (but not twerking) her tabloid image.
Oh, the director of 50/50, Jonathan Levine is back with Seth and JGL, too. He’s part of the script team along with Kyle Hunter, Ariel Shaffir, and Evan Goldberg (another 50/50 alumni). There’s some great jokes about holiday classics (including the original DIE HARD,yeah!), but the story really is just a lot a winter-themed set-ups and set pieces, often haphazardly strung together making the film into a tinsel-filled AFTER HOURS. Sure, many of the gags fall flat, but the ones that score make the bumps in the pacing bearable. Just be aware of that rating, as a bit concerning switched cell phones gets really, really graphic. Like most film comedies there’s that lull and lag about the one hour mark, right before a nice pay-off that touches on the somewhat serious message of letting go and moving on. Yes, it’s hit or miss, but these three not-so-wise men will stuff your stockings with lots of laughs and a bit of heart on THE NIGHT BEFORE.
The newest big screen “golden age of Hollywood” biography represents something of a 2015 trilogy, a hat trick, if you will. It doesn’t focus on the illustrious career of a celebrated actor or actress, but there are some stars involved and in support. No, this is the story of a legendary screenwriter, yes an idea man. The man in question is one Dalton Trumbo, a fellow nearly as theatrical as the thespians reciting his words. Beyond his work, he was perhaps best known as the most famous of the “Hollywood Ten” during the Communist “witch hunts” of the 1950’s. So the “cold war” is the backdrop for this bio, much as it was for BRIDGE OF SPIES, the true life drama, and that frothy spy send-up, THE MAN FROM UNCLE, both released earlier this year. It’s odd that this is the last film to arrive in theatres, though its events precede the other two. And while the other films were mostly set on foreign soil, this film is pretty much set in “tinsel town”, where careers and lives were destroyed over “anti-red” hysteria. This was nearly the fate of the creative wordsmith named TRUMBO.
In 1947 Dalton Trumbo (Bryan Cranston) was the unofficial king of movie writers. He had just signed a lucrative exclusive contract with MGM. And he enjoyed his plush ranch house by a lake just outside LA, a home he shared with his devoted wife Cleo (Diane Lane) and their three young children Mitzi, Chris, and Niki. But storm clouds were on the horizon. HUAC (the House Un-American Activities Committee) was picking up steam and decided to go after “red sympathizers” in the film industry. Acting on tips from powerful newspaper gossip columnist Hedda Hopper (Helen Mirren) and the president of the Motion Picture Alliance for the Preservation of American Ideals, actor John Wayne (David James Elliott), Congress subpoenaed registered Communist Trumbo. He was the most vocal of the media-named “Hollywood Ten” a group of screenwriters who refused to answer the committee’s questions and wouldn’t name names. Although he had the support of good friend, actor Edward G Robinson (Michael Stuhlbarg), and others (we see newsreel footage of Danny Kaye, Humphrey Bogart, and Lauren Bacall speaking out for the “ten” and we hear radio spots featuring Lucille Ball and Gregory Peck), a defiant Trumbo is cited for contempt of Congress and sent to a federal penitentiary in Ashland, Kentucky for eleven months. When he gets out, Trumbo is on the “blacklist” and no studio will touch him. Selling the ranch, they move into a modest suburban home. The desperate writer hatches a plan to continue working. For plan A he asks another non-blacklisted writer to submit Trumbo’s screenplay under the other man’s name (known as “fronting”). It works so well that the other man grabs an Oscar. Then, for plan B, Trumbo marches down to the offices of the low-budget independent producers Frank (John Goodman) and Hymie (Stephen Root) King. Trumbo and his out of work pals will write and fix as many projects as they are given, all working under pseudonyms and paid in cash (at a low, low rate). The family (wife Cleo and the kids) will drop off scripts and payments. Then, in 1956, THE BRAVE ONE gets an Oscar: Best Original Screenplay for “Robert Rich”. Trumbo ends wild speculation when he announces on a live TV interview that he indeed is Rich. This attracts the attention of two big powerful names. Kirk Douglas (Dean O’Gorman) who needs help on his big movie version of SPARTACUS, as does prickly director Otto Preminger(Christian Berkel) with his film adaptation of EXODUS. Will these men defy the old guard and give full screen credit to Trumbo, thereby destroying the blacklist once and for all?
Well, if you’re a classic film buff you know the answer to that. The fun is in the telling of this bit of history and Cranston, in his first big movie leading role, makes it fun (and he seems to be having fun, too). In the opening minutes he appears to be doing an amusing take on the intellectual “dandy” with his big curled mustache and cigarette holder, but when the pressure’s on, Trumbo becomes a dogged defender of personal liberties. Cranston conveys that determination while trying to conceal his inner terror at the thought of being separated from the family he adores. And with his banishment, he becomes both mastermind and hustler, finding a way to still use his talents. However Cranston lets us in on the flaws of this unlikely hero as he pushes those around him to the brink, even as he abuses his own health as an almost one-man script factory. Mr. Cranston conquered TV and with this role he establishes himself as a most compelling film star.
Of course it helps that Cranston’s Trumbo has an equally interesting adversary, mind you a most worthy villain. Now there are altercations with studio execs and actors (notably the “Duke”), but none spew venom better than Mirren as a very different screen queen. Hopper thought she was Hollywood royalty, better than the weak actors that filled her columns, and Mirren makes her a memorable movie bully who shoots daggers out of her eyes at the hounded writer. She doesn’t limit her acid tongue on the title hero. In a memorable scene, Hopper gleefully reminds a top mogul of his Eastern European roots, rattling off semitic names like poison darts. Mirren proves to be very good at being very bad. The other women in the cast aren’t nearly as interesting, unfortunately. Lane is the faithful wife who keeps the family together and dutifully waits for her hubby’s return from jail. It’s not until the second act, when Lane’s Cleo gets to shine as she tells her hubby that he’s a hermit in their own home. Much of that is evident in Elle Fanning’s work as the teenaged, oldest daughter Niki, who seems to truly be her father’s girl as she throws herself into the civil rights movement. Comedian Louis C.K. gives a subtle, understated performance as one of Trumbo’s friends, and “ten” cohort, who shares his left beliefs, but questions his pal’s fervent pursuit of the “green”. He manages to be both tragic and very funny. As for those playing TV “late show movie” icons, Stuhlbarg mostly suggests Eddie G with make-up and fashions going from on-screen tough-guy to off-screen sophisticate. He never attempts to mimic the actor’s distinctive delivery (thereby avoiding younger audience remarking that he’s doing “Chief Wiggum” from TV’s “The Simpsons”), rather he focuses in on the man’s inner turmoil and self-disgust. After PAWN SACRIFICE and STEVE JOBS, this film completes a great hat trick for the talented actor. Elliott gives us a hint of Wayne’s familiar drawl, while O’Gorman, though a tad too young, reminds us of Kirk’s intense macho swagger without dipping into a Frank Gorshin-like parody. Berkel expertly exudes Preminger’s haughty aristocratic arrogance. Oh, and Goodman’s energetic take on the sleazy “B” picture czar, Frank King, is quite a treat making him a side-splitting, foul-mouthed human wrecking ball (the opposite of his kindly studio boss in THE ARTIST).
Director Jay Roach, best known as the man behind the Austin Powers series and MEET THE PARENTS, keeps the film running along at a brisk pace while capturing the uneasy feel of the country right after the last world war. The screenplay by TV scribe John McNamara from the book “Dalton Trumbo” by Bruce Cook includes several clever jibes and quips, even as liberties are taken (did Trumbo really confront Wayne?) for dramatic and humorous effect. But much as with the recent BLACK MASS, the film becomes a checklist, this time of films and trials (“this happened, then this, and then…”), with the movie marching steady through as each ‘life moment” is crossed off, lessening its impact. It doesn’t help that the story ends with a ten-year jump ahead with a cliché ridden awards ceremony that has Trumbo delivering an uplifting speech as the camera captures every major character beaming at him from their seats in the audience. In this way, the film seems more like Roach’s work for HBO on real-life recent politics in “Recount” and “Game Change” with comics and actors playing “old-timey movie star dress-up” with vintage threads, hair, and make-up. However the final studio days are captured well and the actors are very entertaining. Though flawed, TRUMBO is an effective reminder that those “good ole’ days” were really pretty not-so-good on those who didn’t conform or submit.
4 Out of 5
TRUMBO opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas
Angelina Jolie-Pitt’s directorial follow-up to UNBREAKABLE couldn’t be more different. While the WWII adventure was square and old-fashioned, BY THE SEA is an arty riff on those European films of the 60’s and 70’s where not much transpires plot-wise, but plenty happens to characters emotionally. Some viewers may find BY THE SEA tedious and they’d have a good case, but I admired the decisions Jolie-Pitt has made with her new film and recommend it. While this take on a marriage at crossroads is a weirdly self-indulgent, excessive vanity project for sure, it’s a smart one with undeniable star power and rich, sensuous style. BY THE SEA may be pretentious and it may be boring – but it’s the good kind of pretentious and boring and I dug it.
Jolie-Pitt’s technical and visual command of her material is evident from the first frames, with a Citroen convertible snaking through the Southern French seaside accompanied by a swinging Jane Birkin tune. Married couple Brad Pitt and Angelina Jolie-Pitt star as struggling married couple Roland and Vanessa, who it is immediately clear are growing apart. BY THE SEA takes place in the early-70s where he’s a hard-drinking novelist with writer’s block while she’s his unhappy wife, a former dancer. They’re on their way to a luxury hotel (filmed in Malta) where Roland can focus on his writing. Once there, after about 30 seconds of frustrated key-pounding, Roland heads straight to the bar where he spends most of his stay talking life with wise bartender/innkeep Michel (Niels Arestrup). Vanessa spends her time smoking cigarettes, reading magazines, popping pills, sunbathing, taking baths, walking the rocky shore, and frowning a lot (one thing she never does is remove her makeup). The plot, such as it is, kicks in when Vanessa discovers a hole left by a pipe in the wall of their suite that provides a perfect view of the bed next door. That room is occupied by Francois and Lea (Melvil Poupaud and Melanie Laurent), newlyweds so busy trying to get pregnant that they fail to notice the big hole in their wall through which Vanessa’s long-lashed eye is constantly peeking. Vanessa convinces Roland to share in the voyeurism, hoping it will revive a needed spark in their own marriage. Roland is hesitant, but once he tunes into Vanessa’s pleasure, he plays along and the pair is soon picnicking on the floor, taking turns gazing at the lovemaking between the younger couple. But when the four get together, things get out of hand resulting in anger, revelations, and loathing.
Director Jolie creates a vaguely unsettling mood by means of stylish composition, smooth tracking shots, and appropriately detached performances. Both Pitts are very good in BY THE SEA, especially Angelina who seems at ease with a sort of depressed emotional state. You get the feeling that she is always on the verge of dashing herself onto the rocks below.
BY THE SEA is slow-paced, and there are long stretches where little happens. But there is so much to like, especially in the details: the confident way Brad Pitt speaks French, his cool Clark Gable moustache, and his even cooler red pop-art Valentine typewriter. There are Melanie Laurent’s small breasts and Angelina’s bigger ones, some stunning scenery, a snappy score by Gabriel Yared, and direction by Ms Jolie-Pitt that shimmers with self-confidence. BY THE SEA is not a film where big, dramatic events occur, and there is no tidy conclusion to the story. It’s better at mood than substance but it’s a fascinating film that will be argued about and a real treat for adventurous moviegoers.
4 of 5 Stars
BY THE SEA opens in St. Louis November 20th at, among other places, Landmark’s The Tivoli Theater
(L-R) JULIA ROBERTS, NICOLE KIDMAN, and CHIWETEL EJIOFOR star in SECRET IN THEIR EYES.
SECRET IN THEIR EYES is a tightly-plotted murder-revenge thriller that unfolds in leisurely, satisfying detail, cramming a whole miniseries’ worth of events into its two-hour running time. A remake of the 2009 Oscar-winning Argentinian film of the same name (from a novel by Eduardo Sacheri), SECRET IN THEIR EYES is an old-fashioned movie-movie with an A-list cast that’s hardly groundbreaking, but engrossing and substantial enough to recommend
Jumping back and forth between 2002 and current day, SECRET IN THEIR EYES makes its way through several genres; equal parts murder mystery, adult romance, buddy cop movie, and a discourse on national security and the death penalty. The plot hinges on the murder of the teenage daughter of a federal investigator and a co-worker’s 13 year quest to find justice. Chiwetel Ejiofor stars as Ray, a LA-based G-man in 2002 on post-9/11 counter-terrorism duty, assigned to investigate chatter at local mosques. When Carolyn (Zoe Graham), the 17-year old daughter of fellow agent Jess (Julia Roberts) is brutally raped and murdered, Ray focuses all of his energy on that case, even though it’s out of his jurisdiction. A killer is fingered quickly enough, but it turns out he’s the pet informant of another fed (Michael Kelly), too valuable on the outside to be arrested. A confession is discounted, evidence destroyed, and justice denied (or is it?).
SECRET IN THEIR EYES isn’t particularly stylish and with its reliance on close-ups and dialog, often plays like a cold-case procedural TV show, albeit a very good one. Imagine an episode of Law and Order spun out into a thriller spanning 13 years and you’ll get the general idea of what this movie feels like. Most interesting is the story’s political subtext which provides a unique angle to the hero’s investigation. The film addresses some big questions about why some crimes may need to be overlooked for the greater good in the aftermath of the 9-11 attack and the ushering in of the era of terrorism.
The cast is anchored by the intelligent performance of Chiwetel Ejiofor who effortlessly essays a character of believable sadness and commitment. He’s in most every scene, but it’s a de-glammed Julia Roberts who makes the biggest impression. Someone in Jess’ situation would be this damaged and the actress is terrific, unafraid to go full-on haggard for a tricky and tragic role. Nicole Kidman makes no attempt to physically age between decades and is wasted in an underdeveloped part as a prosecutor. The romance-that’s-not-meant-to-be between her and Ray seems half-baked – it was at the center of the Argentinian version and they would have been wise to simply leave it out of this one.
Any film that tells a story this intricate and sweeping is bound to have a few plot holes. The killer is identified too easily by a look at convenient photos where he’s staring creepily at his future victim. A scene in which Ray and his partner Bumpy (Dean Norris) track down the perp in a packed Dodger Stadium provides an excuse for a thrilling chase sequence, but it makes no logical sense (the corresponding scene in the Argentinian version was filmed in one long spectacular shot at El Monumental soccer stadium – I thought at first this remake was going to recreate that, but it doesn’t). One or two moments concerning the killer (played with unsettling intensity by Joe Cole), especially a confession scene involving Nicole Kidman’s cleavage, threaten to cross the line from suspense into out-and-out melodrama, but SECRET IN THEIR EYES is large enough in scope to transcend these minor flaws. It’s a solid mystery that’s less about a murder case than about the living left behind and by the time the final lurid twist kicks in, it’s become a compelling meditation on memory and justice.
Nationwide news media seems to be filled with tales of urban violence (for those living in the larger cities, these stories can fill the first third of local newscast). How do these neighborhoods become powderkegs waiting to ignite and explode? Is it from tensions and frustrations simmering to a boil just under the surface of society? That’s the question posed by the new drama FOUR WAY STOP. The film’s focus is 17 year-old Allen (Paul Craig), who is going through the interview section of another fruitless job search. He’s got a part job at a corner snack shack, but his tardiness and absences (looking for a better gig) has raised the ire of his unsympathetic boss. Things aren’t that great at home since his folks split quite a while ago. His sickly mother (Mary K Casey) needs his wages to support them and her new live-in beau (of course this bully constantly clashes with him). Several blocks away is Allen’s drug-addled dad (Jaan Marion) who repeats tales of his former glory days while also hitting up his boy for cash. Well, Allen’s old childhood pal Tay (Jason J Little) can offer him some work, but it’s not really, you know, legal. But Allen’s determined to resist that route even as every door slams in his face while his anger builds until…
Director Efi Da Silva inspires terrific performances from this energetic cast. Particularly memorable is Marion as he rambles and rants about the better times while resisting the urge to collapse after his latest bender. There’s also very effective use of St. Louis locations, best showcased in an early sequence of Allen and Tay racing down the gritty blocks, lit by rows of street lamps under twilight and darkness. There are scenes that crackle with tension as Allen keeps butting heads with uncaring employers and their staff. FOUR WAY STOP is an unflinching, raw tale of tough times on the still very mean streets.
FOUR WAY STOP screens at Webster University’s Winifred Moore Auditorium on Sunday, November 15 at 1PM as part of the 24th Annual Whitaker St. Louis International Film Festival. Purchase tickets here
Here’s an idea that many kids (and adults) dearly wanted (or still want) to do. I’m talking about having such a love of literary characters, that you believe that you could actually visit their homes and towns. For fans of famous prose novels there might be a desire to go to Narnia, Oz, or Middle Earth. DC comics fans would love to live or work in Metropolis or Gotham City (Marvel superhero lovers quickly discover that the actual NYC isn’t filled with Avengers and mutants). Ah, then reality kicks in and we realize that these locales can only exist in our daydreams. But what happens when you hear rumors of a real place that inspired your favorite comics line. This is what happened to film critic and historian Gerald Peary. In his youth he didn’t gravitate toward the spandex crowd, rather he was smitten with Archie Andrews, along with his pals Jughead, Moose, and Reggie. And he was especially with the other two sides of Archie’s eternal “love triangle”, raven-haired rich gal Veronica and fresh-scrubbed blonde next door Betty. They’ve been having adventures in the little idyllic town of Riverdale for nearly 75 years now. Peary decided to follow up on rumors that it was based on an actual town, Haverhill, MA to be exact. As narrator of this entertaining documentary, he relates the story of cartoonist Bob Montana (source of some controversy-many believe he created the Archie feature, while the company insists that its founder John Goldwater come up with the concept) and how he fell in love with the town and high school, though only having lived there a few years. Peary and an Archie expert comb through high school yearbooks, newspaper clippings and the classic comic books and comic strips like a pop culture Holmes and Watson unraveling a mystery. Though Mr. Andrews was a print media hybrid of teen Henry of “The Aldrich Family” radio show and Mickey Rooney as Andy Hardy in MGM’s popular feature film series, that ginger lad is all East Coaster. Many of the comics models are tracked down (there’s an old video interview with the real “Moose”), but the surprising reveal of the title “four-color” queen makes for a heart-warming finale.
Peary makes for an entertaining guide through this quaint little town and the journey of this freckle-faced funster first appearing as a humor filler in publisher MLJ’s mostly action hero anthology “Pep Comics” into a media juggernaut that would ultimately take over the name of the company (MLJ became Archie Comics). There’s a lots of original art and classic (very valuable) books plus the merchandising: fashions, toys, a radio show, and a live-action TV movie (little mention though of the smash hit 1968 CBS Saturday morning show produced by Filmation Studios that registered Super Bowl-like ratings numbers and spawned the number one hit record “Sugar Sugar”). ARCHIE’S BETTY is a touching, whimsical ode to a bygone era and a tribute to the folks that created and inspired America’s favorite bunch of immortal ageless teens.
ARCHIE’S BETTY screens at Landmark’s Plaza Frontenac Theatre on Sunday, November 15 at noon as part of the 24th Annual Whitaker St. Louis International Film Festival. Purchase tickets here
IT HAD TO BE YOU screens Friday, November 13th at 7:00pm at The Tivoli Theater as part of this year’s St. louis International Film Festival. Ticket information can be foundHERE
IT HAD TO BE YOU is a very, very average movie elevated by the sheer likability of Cristin Milioti. Nothing in the movie is particularly groundbreaking, no envelopes are pushed, but Milioti radiates. She isn’t exactly new on the acting scene; she got her initial exposure (of note) being way too good for the last season of How I Met Your Mother, then a too-brief role in “Wolf of Wall Street,” but here she is carrying an entire movie on the back of her screen presence and charm.
The rest of the movie is perfectly fine, save the person-shaped section of drywall they cast as the male lead. The cast as a whole is mostly solid, some of the jokes have a really good Sarah Andersen vibe to them, and Sasha Gordon is a decent first time director. That her background is in music and she cast a musically talented actress who bears some resemblance to her in the lead role of the quirky young composer is a little first-time-writer, but there are much worse ways to show that hand.
Really, though, aside from Dan Soder showing about as much charisma as a hole in your pocket, there’s nothing to complain about in the movie. It’s not great, but it’s not trying to be. Gordon seems to be keenly aware that she’s a first time writer/director and plays it safe, but in a smart way. It’s the sort of small, low-stakes movie that can get one really good thing going for it, and Milioti is definitely that. I wouldn’t nearly nominate this for any big acting awards, but I could watch Milioti be a more human Zooey Deschanel all day.
But beyond that there isn’t much to say about it. It’s a good “let’s go to the movies, I don’t care what we see” pick. Or if you just went to see one of the heavier SLIFF films, this would be a very nice, light palate cleanser. It’s fun, entirely inoffensive (aside from some weird slurs thrown around by a character while yelling in the background, I have no idea what that was about…), and there are a lot worse things out there to see than this. Even if it won’t necessarily stick with you for very long after you leave the theater.
Social media is filled with complaints about retailers jumping the gun on Christmas. Hey the jack-o-lantern’s not yet ripe when the tinsel and wreaths go on sale. Well at least this inspired one of the great double holiday flicks, THE NIGHTMARE BEFORE CHRISTMAS. So, if the mall starts early, why not the attached (usually) multiplex theatres. Hollywood loves sending out movies at the end of the year set around the staples of the season. So, before you even think about grabbing the turkey (let’s not get ahead of this piece) for Thanksgiving, here’s a flick about a big, big family getting things set for the big Christmas Eve shindig. Now Mom’s a perfectionist, so everything has to be plotted out and just right. Of course, like most families, things are far from perfect. Doesn’t mean they can’t try their darndest in the new star-packed cinema stocking, LOVE THE COOPERS.
It’s early morning, December 24 (CE Day if you will) and Charlotte (Diane Keaton) and Sam (John Cooper) are on the road. Things aren’t going well in their marriage (they plan to separate in the new year), but they don’t want the family to find out. First, it’s off to son Hank’s (Ed Helms) home to pick up his pre-K daughter Madison (Blake Baumgartner) ,but oh oh, she’s repeating a naughty phrase! Hank has separated from his wife Angie (Alex Borstein), but his folks don’t know that he’s actually spending his days looking for work. His teenage son Charlie (Timothee Chalament) is not handling the break-up well, so he’s taking his little brother Bo (Maxwell Simkins) to the mall to shop (and flirt with a gal working there). Sam and Charlotte with Madison go to a senior center to sing carols and pick up Sam’s daffy Aunt ‘Fishy’ (June Squibb) , who also says (and does) naughty stuff, too! Charlotte’s father Bucky (Alan Arkin) heads into his usual diner for breakfast, unaware that his favorite waitress Ruby (Amanda Seyfried) is going to drop a bombshell on him: she’s leaving town. Back at the mall, his other daughter, the divorced adrift Emma (Marisa Tomei) is busted for shoplifting and is being transported to the station by Officer Williams (Anthony Mackie). Meanwhile at the airport, Hank’s sister Eleanor (Olivia Wilde) is hiding out in the pub, dreading the disapproval from Mom over her still single status. She strikes up a rapport with a cute soldier, Joe (Jake Lacy) whose flight has been delayed a day. Hmm, maybe he’d agree to play her fella’ for the night? Man, now that’s one frenzied family circus (no offense Mr. Keane)!
Oy, where to begin! First off, I’ve enjoyed the work of the cast so much, but really…really. All of you show know better. Talk about having to flail about without a net! Diane Keaton, You’ll always be Annie Hall, so why do you take on such a shrill character, constantly trying fix everything and everyone when not giving an earful to both your on-screen hubby and sis. At least she has a bit of a personality which is more than be said for the sad sack role Goodman has been saddled with. His appearance in films, in even the briefest cameos (see what he does in TRUMBO, for gosh sake) can spring the story to life. Helms is doing a riff on the put-upon schlubs from the HANGOVER trilogy and VACATION and TV’s “The Office” with little else to do, besides looking anxious. Arkin only seems to bounce from befuddled to indignant. And who thought he could be Keaton’s father (there’s just a dozen years difference). Tomei’s pop I can believe. She’s stuck spewing vapid psycho-babble in the back of a police cruiser on the loooooongest ride to the station ever (there’s no sub station?)! Mackie isn’t allowed any of the energy he often brings to the screen as he’s stuck as another uptight guy with a secret (much like his role in WHAT’S YOUR NUMBER?). Speaking of “The Office”, another alum, Lacy, does hold on to a bit of dignity, and can be a good leading man. His scene-mate Wilde is still dazzling and a delightful comic talent, though her character is mind-numbingly silly, even for a bit of froth like this. Seyfried, the film’s other beauty, can’t spark life into this immature twenty-something who hasn’t any semblance of a game plan (oh, just gonna’ pick a town at random, eh? Uh huh). Can it be just two years ago when Squibb stole every scene in NEBRASKA? Now she’s playing the crutch of lazy screenwriters, the unpredictable senior, always good for a cut-away gag or a scene ender. She is so much better than that.
Director Jessie Nelson (I AM SAM and CORRINA, CORRINA-that explains a lot) hammers us with every manner of forced whimsy. From slow-motion dancing to fantasy flash forwards, even some CGI as characters turn to ice and shatter (that was clever on “Ally McBeal” a decade ago). But nothing fails to revive this cliché filled script from Steven Rogers (no relation to the star-spangled avenger, I should hope!). Do we really need a dream sequence of Joe and Eleanor frolicking in the airport (where’s the TSA when ya’ really need them?)? And who in the world brings their soon-to-be ex-wife to the big family Christmas Eve event? Why the better to have a big argument followed by a heartfelt plea from the kiddos, naturally! The only thing that perked me up was when I realized this was all set in Pittsburgh. Could one of these shopping centers be the legendary Monroeville Mall from the 1978 DAWN OF THE DEAD? That’s what happens during drek like this. You think about much better films, and I had a lot to think about. The narrator of this film was part of a true holiday classic, one that can be watched and enjoyed any time of the year. At the screening of this, many viewers wanted to give this flick a pass, since, well it’s a Christmas movie and it’s got nice decorations and festive foods and lights. No, much like the old thought “it’s only a kids’ movie”, a “holiday movie” should not be given a free pass. That’s an affront to all the wonderful flicks that have become annual viewing favorites. Not so with this cloying, precious mess. You want to see Christmas-y stuff. Go to your local mall instead or, better yet, stroll down main street or downtown. That’s a much better way to get in the “Noel” mood since LOVE THE COOPERS goes down like a cold glass of egg nog…from a carton that’s been sitting at the back of the fridge since last Christmas. Now that’s a lump of coal in yer’ stocking!
Well, the temps are dropping, and the leaves are changing. That can only mean one thing: better check on furnace. Or get the old rake out. Of course, that’s unless you’re a sports fan. Then, for the most part, it’s football all the time (just seems like it to the rest of us). And what better way to lure those fans away from their TVs and bars? Why Hollywood has been passing the ole’ pigskin for decades, even before sound (Harold Lloyd in THE FRESHMAN has quite a spectacular final game). There are comedies and dramas, the latter has mostly been the province of the true story. JIM THORPE, ALL AMERICAN (as was coach Knute Rockne) and INVINCIBLE to name a few. And, of course, there’s that much beloved crowd-pleaser RUDY. Well, all you gridiron movie lovers, here’s a new flick from the same fellow that penned that underdog story. Let’s suit up and hit the field, or the multiplex, for MY ALL AMERICAN.
As the story starts it’s 2010 as an eager young reporter quizzes long-retired University of Texas football head coach, Darrell Royal (Aaron Eckhart) about the players he’s worked with during his illustrious career. The young scribe rattles off the names of several All America winners. But the player that Royal recalls is Freddie Steinmark. She reminds him that Freddie was not an All American, to which the coach replies, “He was my All American”. We then flash rapidly back (you could get a whiplash) to the 1960’s as we see little Freddie playing “pee wee” football in Colorado. He was smaller that the other lads, so he had to try harder. And train extra, under the stern guidance of his father, Fred senior (Michael Reilly Burke). Jump to high school and Freddie (Finn Whittrock) still hasn’t gotten that growth spurt, but he still trains after school with Dad, and he’s the star safety on the team, forging a bond with the much larger Bobby Mitchell (Rett Terrell). Oh, and he attracts the eye of a pretty classmate, Linda Wheeler (Sarah Bolger). As graduation looms, the mailbox is full of rejection letters from colleges. He’s just too short to be taken seriously. Luckily his coach has an in with the staff of the University of Texas Longhorns. Impressed by game footage, Coach Royal offers Freddie and Bobby full scholarships. Plus Linda’s going to school there too! The tenacious Freddie earns the respect of the coach and the senior players and is soon an important part of the Longhorn’s winning season. But one day, on a picnic with Linda, Freddie’s legs begins to throb with pain. She insists he see a doctor. He agrees to, but only after the season ending bowl games. But coach Royal notices his limp. Is it just tired muscles or something very serious…?
Although Eckhart is the most prominently featured actor in the film’s marketing and poster, he’s really in a supporting part. After his awkward old age makeup (barely sold with his halting line delivery), in the first minute or so, we don’t see him for a good half hour when he’s in full coach-mode. Then he’s barking out orders during practice and giving stern pep talks (while glaring at his team). His demeanor does finally warm up and Royce becomes a tough and tender mentor/father figure to the player at the heart of this story. Of course that’s Steinmark played maximum earnestness by Whittrock as the son/boyfriend/pal that most people can only dream of knowing. He’s all focused forward-motion until the fates throw him a curveball (wrong sport, I know). Whittrock admirably balances the role’s sweetness and competitive nature. It’s easy to see how he got on the radar of Linda played by Bolger as the devoted girl next door, stunned and stumbling at their first meeting. Her infatuation morphs into a real romance and Bolger doesn’t make her a flighty, flirty bit of arm candy, but a true partner in life off the field. Terrell at first seems to be the stronger, but his Bobby benefits from Freddie’s friendship. Burke has little to do beside gazing into a stop watch, but his stoic daddy is balanced by Robin Tunney giving a warm, nurturing take on the heart of the household, mamma Gloria.
As I stated earlier, this is from RUDY (and HOOSIERS) screenwriter Angelo Pizzo (adapting Jim Dent’s book), plus it’s his first time directing. He seems to adhere to the inspirational sports story formula. Perhaps he adheres a tad too much as the film seems to be throwing passes right into cliché territory. Often it seems to be filling time before the next big game, with often seen slow-motion shots of seemingly impossible aeronautics (bodies in full triple-flips) accompanied by amped-up audio of bones-crunching and helmets cracking (it’s nearly an appetizer for the upcoming football medical drama with Will Smith, CONCUSSION). Yes, Freddie is height-challenged like Rudy, but its second half sets the film squarely in the “sports tear-jerker” territory making one (I recalled the brilliant “Terminal Football” radio sketch from the recent National Lampoon documentary) think of the 70’s classic made-for-TV “Brian’s Song”, and going further back to KNUTE ROCKNE, ALL AMERICAN and its story of George Gipp (played by future prez Ronald Reagan). So, yes Freddie becomes a late sixties “Gipper”. The marketers of this film appear to be making a play for the “faith-based” film fans that made WAR ROOM an unexpected hit by making sure that every college montage includes a bit of Freddie in the UT chapel, but aside from a clumsy bit about a Vietnam War loss (and a “filthy hippie” straight from FOREST GUMP) this element isn’t that exploited. This is one of the film’s few subtleties, since it’s saddled with a bombastic swelling, uplifting score designed to hammer away at the heart-strings, Pizzo uses it to pummel away at every dramatic moment to the point of exhaustion. This all contributes to the near canonization of the film’s hero. Steinmark becomes a symbol of all this is good in sports and America, but stripping away his complexity (well, he is stubborn about his health) takes away from his humanity. We’re left with this smiling image at the stadium, rather than a flesh and blood person. MY ALL AMERICAN is an upgraded cable-TV tear-jerking sport biopic that never veers away from the playbook to make the story as special as its subject.
