Michael Winterbottom – We Are Movie Geeks

THE TRIP TO GREECE – Review

So, this Friday is the beginning of the three day weekend that usually kicks off Summer vacation time. But with the lockdown somewhat still in effect (parts of the country are testing the “re-opening waters”), every day feels part of a “stay-cation” holiday as the luggage continues to gather new layers of dust in the back of the closet. Well, there’s always a virtual “vacay” via streaming services. Now, we’re not talking about a collection of the old travelogue film shorts we sometimes see between the features on the TCM cable channel. Nope, this is a brand-spanking’ new flick shot before the world changed (nearly to a standstill), but with a couple of most familiar and entertaining guides. We know that because over the last decade we’ve joined them (as a “fly on the wall”), first through the British Isles, then to Italy, again in Spain. Time to get our “cinema passports” in order as Steve Coogan and Rob Brydon explore the sights and sounds (and, oh, the tastes) of the land a bit further East as they take THE TRIP TO GREECE.

In the three years since their trek to Spain some things have changed with Steve and Rob, while their relationship, full of affectionate but often stinging barbs, has remained fairly constant. As they meet up in Troy for another “magazine assignment”, Rob reluctantly leaves the renewed romantic bliss with his wife Sally (Rebecca Johnson), though he hints that she may join him towards the end of the “gig”. Steve’s mind is also occupied with home matters of a darker tone. The health of his father is failing, so he checks every few hours in with his son Alexander (Michael Towns), who is watching over “grand”, in his absence. Much of that is pushed aside as the old “mates’ grab a rental car and careen over the twisty two-lane roads while riffing on favorite celebrity impressions and compare tidbits of Greek history. Rob is pleased with his own career, happy to be pegged as a “working class, regular bloke” comic performer, while Steve still is trying to establish himself as more than a “funny man”, but rather a serious multi-faceted “artiste”. In the last trip he was reveling in the critical acclaim of PHILOMENA, which he wrote and co-starred in, now it’s all STAN & OLLIE and his awards and accolades, though Rob believes it was all “comic mimicry”. At one stop they meet a recent co-star of Steve’s, Kareem Alkabbani from GREED (which I reviewed a couple of months ago) and offer him a ride. When they drop him off at his destination, Rob delights in his observation that Steve doesn’t recall working with him…at all. As they trace Odysseus’s trail from Troy to Ithica, they dine at 5-star gourmet restaurants, “bunk” in superb hotels and inns, and hike up hills and through brush (sweating and huffing the whole way) to explore ancient ruins and historical sites. The dynamic changes as they meet up with Steve’s assistant Emma (Claire Keelan) and magazine photog Yolanda (Marta Barrio) for some on-location pics. The fellows become more aggressively competitive and even engage in a swimming challenge in the crystal blue waters. But soon that dreaded call comes for Steve and he’s got to cut their adventure short. But how will tragedy change this rivalry/friendship?

Once again, the real “travel organizer” is director Michael Winterbottom, who keeps us bouncing from several different backdrops on a brisk pace, lettering us savor the new locales (for the series, though they may be the most ancient) and the talents of the two explorers. Along with the unique destination, this excursion has a more somber “sidebar” as fate drains some of the endearing pomposity from Coogan. Of course Brydon does his best to “pop that SC balloon” in the opening moments during the talk over the latest critical darling, twisting it into Laurel and (Tom) Hardy (as always, still muffled in his Bane muzzle). And due to his family situation, Coogan tries to “push back” against his own mortality, insisting that he could “cliff dive” with the local twenty-somethings, despite his exhaustion during the many trail hikes. As with the earlier adventures, the arrival of Emma and Yolanda jolts the “boys” into extreme “one-ups-manship” and a big race. Things might have gotten too downbeat if not for the shimmering cinematography by James Clarke of the lovely locales and locals (the camera adores several sultry servers) and the culinary artistry of the chefs (though the lamb and seafood dishes didn’t have the tastebuds exploding as with former treks). And kudos to editor Marc Richardson for the sprightly kitchen montages (more like a close-quartered dance) and bountiful backdrops (especially at sunset). Speaking of, the travelers have publicly stated that this is the last of the outings. I’m still hopeful they may reconsider. Can you imagine the two riffing over delectable Asian dishes or perhaps steaming bowls of borscht or goulash? More than the meals, it would mean some more time with a duo who have become a most endearing comedy team for the new century, two caricatures of their public personas, the prickly self-aggrandizing Coogan and the irrepressibly upbeat Brydon. It’s a gorgeous country, but the best part of this getaway is being the third wheel to Steve and Rob on THE TRIP TO GREECE. Opa lads, and keep those passports handy!

3.5 out 0f 4

THE TRIP TO GREECE is in select theatres and can be ordered as a VOD on most cable and satellite systems and streamed on most digital apps and platforms.

GREED (2020) – Review

So the title of this new comedy refers to one of the “seven deadly sins” as labeled in most Christian teachings. In these times the word’s a bit more complicated. After all, fictional real estate mogul Gordon Geeko, in an Oscar-winning performance by Michael Douglas, proclaimed that it is “good” in one of the most quoted scenes from Oliver Stone’s 1987 classic WALL STREET. Another take on that word now comes from two-thirds of the trio responsible for a delightful series of comedic travelogues that began ten years ago with THE TRIP. But they’re not going after Stone’s street, rather they’re taking aim at Great Britain’s avenue of haughty fashion retail shops, High Street. And as you might have guessed, this isn’t a remake of the Erich von Stroheim silent 1924 epic. The sin’s much the same, but this is a completely different take on GREED.

In the opening moments, we see a TV news report touting the success of the big fashion line from High Street staple Sir Richard McCreadie (Steve Coogan). Video of the big company shareholders’ party shows him handing out over-sized checks to supervisors and board members including his wife Samantha (Isla Fisher). Watching the report from his tiny apartment is writer Nick (David Mitchell), who is in the middle of his latest book deal, authoring a biography of said tycoon. The film then flashes back to Nick interviewing Richard’s past business associates and a few family members, and includes scenes of a young Richard (Jamie Blackley) conning classmates at his posh prep school before being expelled, with his mum Margaret (Shirley Henderson) deriding the headmaster. As Nick boards a plane to Greece, where a lavish 60th birthday celebration for Richard will be held on the island of Mykonos, we learn more of the mogul’s business past, lowballing clothing companies, pushing out competitors, low bidding “sweatshop” factories in Sri Lanka, bankrupting several shops and fashion lines, and getting a “rap on the knuckles” from the British courts. On the island , the McCreadie staff is in a panic trying to push the local laborers and craftsmen to finish a recreation of a Roman collesium in the next two days. It’s a party inspired by their boss’s favorite film GLADIATOR, complete with an old lethargic lion. Soon the McCreadie family begin arriving on different yachts. First, it’s Richard with his mistress, supermodel Naomi (Shanina Shaik). Then it’s estranged wife Samantha with her new French beau (yes, she and Richard are only married in the legal sense as he’s using her as a tax shield). Surly son Finn (Asa Butterfield) drops in as does the huge entourage (including the film crew of her “reality” TV show) of his sister Lily (Sophie Cookson). The planners are put through more agita as they try to deal with the refugees that are legally allowed to set up camp on the public beaches. But surely all will be ready for the world to witness the adoration of the famous and powerful for the “birthday boy”. But will this finally erase his nickname of “Greedy McCreadie”? It just might, unless something goes wrong…

Once again Coogan proves himself to be the comedy king of self-absorbed pompous jerks (talking of his roles, of course). With McCreadie, he ventures into cartoonish grotesquery with his over-sprayed tan and ludicrous blinding-white choppers (makes Sandler’s dental deceit in UNCUT GEMS look restrained). Perhaps this is to heighten the character’s disconnection with humanity and exaggerate his buffoonish braying and boasting. Sure he’s just as clueless as Coogan’s other comic turns, but unlike Alan Patridge and His caricatured persona in the TRIP flicks, there’s few redeemable qualities in McCreadie, all that’s there is an avarice ego-driven monster who lives to cheat anyone of the few possessions they need. The faults of his family and various sycophants pale next to this modern ogre. Henderson as his devoted, enabling mother proves that the apple doesn’t fall that far at all. She emits a true toxic energy casting a pall over any scene she waddles into. Fisher ‘s a delightfully daffy social climber whose heart (buried deep in her latest surgical …um…enhancements) still somehow longs for eventual ex. Meanwhile Butterfield, as their son, seethes with contempt, miserable as he must endure his Daddy’s taunts and tirades. Cookson scores lots of laughs as the typical “spoiled lil’ rich girl” who just can’t emote for his reality show’s “storyline”. Mitchell makes an awkward investigator who, with his clumsy, often witty musing, is a true fish out of water. The plot’s dramatic subplot is expertly carried by Dinita Gohil as Amanda, ex-retail store manager who’s now part of an army of personal assistants. She knows the true consequences of McCreadie’s dealings and may find a way to hasten his much-delayed comeuppance.

Director Michael Winterbottom, who wrote the script with an assist from Sean Gray, appears to be juggling the styles of several other iconic comedy filmmakers. Nick’s inquiries and interviews are much in the vein of Christopher Guest’s “mockumentaries” with the cuts from the “talking heads” to the scenes of McCreadie’s corruption. As the prep for the party amps up, Winterbottom adds to the chaos via the overlapping dialogue techniques of Howard Hawks and especially Robert Altman (with some of the thick accents I had a tough time grasping some gags). Still the film falters a bit when it explores several real-life tragedies, especially with the families stranded on the beach, although their exploitation by the reality show is a needed jab at publicity-starved celebs using those really starving. That’s when story is set aside for the film’s real agenda. It’s hammered (or pummeled) home during an interminable “fact-montage” preceding the end credits pointing out (over and over) the massive gap between those who make the clothes and those that sell and model them. The producers must assume that we didn’t come away with that from the film’s previous 95 minutes. Perhaps part of that sequence could have been whittled down in order to spend the time and budget on that inept CGI lion (I may owe the cartoon Buck the dog in CALL OF THE WILD an apology). Yes, this is a satire on society, but the true ugliness of the subjects (and their real-life inspirations) works against the comic tone of the tale. What should be a banana peel pratfall of a stuffy rich guy turns into a gruesome evisceration. Coogan’s always a watchable performer, but the heavy-handed GREED is just not (here’s Gecko again) “good”.

2 out of 4

GREED opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

THE WEDDING GUEST (2018) – Review

Spring arrived (finally) just a few days ago, so what better time for a flick about one of the season’s most frequent events and celebration, a wedding. From the title, we gather that it must be a “rom-com” romp with all the chaos and confusion associated with “tying the knot”. And since it comes from writer/director Michael Winterbottom, the man who helmed that hilarious THE TRIP trilogy and stars the energetic Dev Patel from the Marigold Hotel movies, it’ll have lots of laughs and warmth (maybe Coogan and Brydon will cruise in). Well, you’d be mistaken if you gathered all this from the title, or to quote one of the better songs from MARY POPPINS RETURNS, “The Cover is not the Book”. No, this is an Eastern trek into classic film noir territory as we strap ourselves in for a road trip with THE WEDDING GUEST.

Said title character is a British-raised Indian Muslim named (well, it’s what he answers to) Jay. As we meet him, he’s just flown into Pakistan, informing the authorities that he’s going to a wedding. He proceeds to rent a car for two weeks (perhaps turning the trip into a vacation). Jay then stops off in a small dusty village to purchase two pistols (uh oh), then buys a roll of “very strong” duct tape (double uh oh). A few miles up the road he parks his car and rents another one (wha-) and completes the trip to the wedding locale, an opulent estate outside another tiny town. After renting a room, Jay embarks on his trek’s true mission. Evading the gate guard, he climbs the fence, enters the home, and abducts the intended bride, Samira (Radhika Apte). A flash of violence complicates Jay’s plan, but they make it back to his vehicle. After tossing her into the trunk (she’s bound, gagged, and hooded) they speed away into the night. Making it back to the first rented car, Jay lets Samira out of the trunk and informs her of the plan. If she wants to go through with the nuptials, he’ll leave her by the side of the road near town. But if she wishes to be reunited with her London love, Deepish, he’ll take her to him in India. Samira chooses the ladder, and after a quick clothes change, they head across the border to India. But things soon go “sideways” as Deepish (Jim Sarbh) gets “cold feet” when the big “bride-napping” makes the news. But Samira insists on seeing him, and Jay just wants to get paid for the job and its “complications”, one being the attraction between abductor and captive. And what was the couple’s big “endgame” involving Deepesh’s family business of precious gems and stones? Will this triangle take a deadly turn?

The lead role is a big departure for the usually sunny, cerebral star of this dark tale. Patel (who’s also one of the film’s producers) embraces that darkness giving us a determined calculating criminal-for-hire, one hoping to avoid violence but is prepared, nonetheless to strike first in order to survive and collect his bounty. Jay is a mystery, a man full of contradictions, stopping off on the way to the job in order to do his daily prayers, then quickly back in his deadly “professional duties”. Has he always done this “sort of thing”? Where did he acquire these “special skills”? We, along with the other characters, never find out, as Patel builds a secretive, protective wall around Jay. And Patel is completely believable in this complex, but brutal role. Now what Jay is not prepared for is the alluring Samira played by Apte unlike a typical noir “dangerous dame”. She slowly turns from timid captive to calculating partner, knowing that her face and name are all over the news. Apte, through her large expressive eyes, conveys Samira’s almost fear of Jay morph into an emotional bond. Of course, much of this is escalated by her weasel of a longtime beau Deepesh played with an oily arrogance by Sarbh. He’s a smooth-talking wild card, showing his “true colors” when things go awry. Sarbh’s so convincing that we wonder what Samira ever really saw in him. This is one twisted talented trio.

Winterbottom has concocted a unique crime thriller that’s mixed with a “budding friendship” road picture. As mentioned earlier it’s an exotic spin on the classic noir films with plenty of double and triple-crosses and a tough, rough, “all-business” pro whose “hard edges’ slowly soften via a very smart ‘skirt”. The suspense builds from the mysterious first act as we’re pondering the motives of Jay as he gathers his “tools”, finally exploding in the nearly botched mansion invasion and “grab”. From there’s it becomes almost a “travelogue’ as we view the gorgeous locales from all manner of transportation (cars, trains, even a “sleeper” bus) and accommodations (from “dirty dives” to swanky plush suites). This builds to the inevitable meeting of the three principals, which, as feared, quickly goes “south”. And as James Cain reminded us, “The Postman always rings twice”. Though the plot has familiar elements, the cast and settings make THE WEDDING GUEST an engaging “slow boil”.

3.5 Out of 5

THE WEDDING GUEST opens everywhere and screens exclusively in St. Louis at Landmark’s Plaza Frontenac Cinemas and Tivoli Theatre

THE TRIP TO SPAIN – Review

Hmmm, just a few more days until the last Summer holiday, so there’s still time for a vacation, or at least a vicarious one with a very funny duo. Here’s their third cinematic excursion together, so let’s just go ahead and call it a movie franchise. And a most welcome, entertaining one at that. As long as there are countries that cook, it could go on for a long, long time (if we’re lucky). Under the pretense of a newspaper writing assignment we first got to accompany Steve Coogan and Rob Brydon as they traveled their native Britain, dashing from one splendid restaurant, while enjoying very plush accommodations at first class inns and hotels, in 2011’s THE TRIP. The two played heightened versions of themselves (much like Larry David in HBO’s “Curb Your Enthusiasm” and the celeb guests on the much-missed “The Larry Saunders Show”), with Coogan as the egocentric ladies man while Brydon was the easy-going affable family man (a running joke was Steve’s dismay and disgust at the affection shown to Rob by folks on their journey). Three years later they took THE TRIP TO ITALY. In between heaping plates of pasta, Coogan settled down and devoted more time to his teenage son, while Brydon finally scored a big movie role as he tested his marriage vows during a “rough patch”. Sure the sightseeing and meals are spectacular, but the best part of these travelogues are the delightfully witty conversations between the men, rife with inside show biz stories sprinkled liberally with uncanny vocal impressions.

It’s three years and the fellows are hitting the road once more. Steve has been hired by the Observer to write a gastronomic tour of Spain, so he naturally calls Rob. His marriage has stayed strong (so strong they’ve produced a little brother for their daughter), but Rob’s been contacted by the New York times for the same type of gig, and he’s ready for a break (close-up of his screaming lil’ boy), so he’s ready for THE TRIP TO SPAIN. Steve picks him up in his rented Range Rover and they hit the road…then the sea via a luxury ferry. The other big news over the past couple years, aside from the Brydon heir, is Steve’s acclaimed work on the multi-Oscar nominated 2013 drama PHILOMENA. Its success has somewhat reverted him back to his old pompous ways (and Rob is sick of him repeating stories about the flick). He’s frustrated that the studios aren’t eager to pounce on his new film script “Missing”, and he’s fuming that his American agent has left his agency without trying to “poach” him (a young upstart has been assigned to Steve). Oh, and Steve has taken up once more with his old American girlfriend Misha (Margo Stilley), despite the fact that’s she has married since last they met. Well, at least his son Joe (Timothy Leach) is taking a break from college and is joining them during the last few days of the assignment. Meanwhile Rob is his usual jovial self, spending lots of “face time” via Skype with the wife and kids back home. And of course, he and Steve are taking in the superb scenery, exploring the country’s rich history, and devouring meals that look so good you’re glad the movie’s not in 3D!

Director Michael Winterbottom continues to orchestrate the dinners and conversations expertly, knowing when to cut from the casual duo to the precisely choreographed “dance” happening in the kitchen (these chefs and their crew are superb artists and craftspeople). As for our hosts, Coogan really gets to stretch his acting muscles this time, by presenting a talented man who doesn’t deal well with people some of the time. He’s short with his agents during phone calls and downright surly to a street musician who offers some eatery suggestions (leaving Rob to clean up his mess). As for the impressions, a few icons are revisited briefly, namely Michael Caine and Sean Connery. In some scenes Steve and Rob pay tribute to some recently departed stars, with much time awarded to Roger Moore. When the pair are visited by Coogan’s manager Emma and her photographer Yolanda (Claire Keenan and Marta Barrio once more), he tries to give them a history lesson about the Moor invasion as Brydon (still a flirt around Emma) will not stem the flow of nearly non-stop Roger rumblings. A few sequences fall a bit flat (the Brando riff as a vicious inquisitor is not helped by a fantasy reenactment), or don’t really pay off (Mick Jaggar springs to mind), but when the guys are really in the groove (meshing a torture session on the rack with a game show is inspired) we’re swept up in the masterful off the cuff brilliance. And there are the show biz insights as when the two try to convince each other that age 50 is “the prime of life” (not in Hollywood, for certain). Thanks to a misguided ending that tries for a statement (or an action film-style cliffhanger), this installment is not as strong as the previous two, but it still has more wit and punch than any two recent studio comedy misfires. After THE TRIP TO SPAIN, I’m eager to get my multiplex passport stamped once more…right after a tasty meal. of course.

4 Out of 5 Stars

THE TRIP TO SPAIN opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

Win Passes To The Advance Screening Of THE TRIP TO SPAIN In St. Louis

It’s been four years since THE TRIP TO ITALY. Now comes IFC’s third film in the series, THE TRIP TO SPAIN, from director Michael Winterbottom.

After jaunts through northern England and Italy, Steve Coogan and Rob Brydon embark on another deliciously deadpan culinary road trip. This time around, the guys head to Spain to sample the best of the country’s gastronomic offerings in between rounds of their hilariously off-the-cuff banter. Over plates of pintxos and paella, the pair exchange barbs and their patented celebrity impressions, as well as more serious reflections on what it means to settle into middle age. As always, the locales are breathtaking, the cuisine to die for, and the humor delightfully devilish.

The film opens in St. Louis August 25, 2017.

Check out this hilarious clip now.

WAMG invites you to enter for the chance to win TWO (2) seats to the advance screening of THE TRIP TO SPAIN on August 22 at 7PM in the St. Louis area.

Answer the Following:

Brydon played a dwarf in which 2016 fantasy adventure film based on characters from the German fairy tale “Snow White”?

TO ENTER, ADD YOUR NAME, ANSWER AND EMAIL IN OUR COMMENTS SECTION BELOW.

OFFICIAL RULES:

1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.

2. No purchase necessary. A pass does not guarantee a seat at a screening. Seating is on a first-come, first served basis. The theater is overbooked to assure a full house.

See more about the movie here: http://www.ifcfilms.com/films/the-trip-to-spain

THE TRIP TO SPAIN. Photo by Phill Fisk. Courtesy of IFC Films.

Steve Coogan and Rob Brydon Make A TRIP TO SPAIN In New Trailer

It’s been four years since THE TRIP TO ITALY. Now comes IFC’s third film in the series, THE TRIP TO SPAIN, from director Michael Winterbottom.

The film opens in theaters August 11, 2017.

Steve’s film career includes five films with Michael Winterbottom.

The Trip To Spain is the third in an occasional series that began with 2011’s The Trip, a film that was originally intended as a one-off. The premise of the first film was simple: actor and comedian Steve Coogan has been commissioned to write a travel piece for the UK’s Observer newspaper, and so he invites his friend and peer Rob Brydon to accompany him. For a week they travel the Lake District, visiting the area’s critically acclaimed restaurants, and after several days they are joined by Steve’s PA Emma (Claire Keelan) and photographer Yolanda (Marta Barrio), whose work will illustrate the resulting article. Along the way, the two men discuss their hopes, their fears, and the cultural history of the north of England, all the while trying to outdo each other with their uncannily life-like impressions of celebrities such as Al Pacino, Michael Caine and Sean Connery. There would, said director Michael Winterbottom, never be another.

Except there was. The Trip was followed in 2014 by The Trip To Italy, which repeated the formula by having Steve and Rob make a similar journey from Piedmont to Capri, and, as he did after making its predecessor, Winterbottom said there would never be another. Fast-forward to 2017, and Steve and Rob are making another trip, this time from Santander in the north of Spain to Malaga in the south. Once again everything is the same and yet everything is different: over the course of the three films, the two men find their perspectives shifting, both on the subject of love and family and in their search for artistic fulfilment.

The seeds for the first Trip were sown back in 2005, on the set of Michael Winterbottom’s 13th feature film Tristram Shandy: A Cock And Bull Story. Inspired by Laurence Sterne’s 18th century novel The Life and Opinions of Tristram Shandy, a book deemed unfilmable due to its extended comic digressions, Winterbottom’s film was a pairing of two actors that the director had previously worked with: Steve Coogan and Rob Brydon. Both appeared in Winterbottom’s 2002 film 24 Hour People, a biography of Manchester’s post-punk music scene, in which Coogan played the lead and Brydon – a TV star after the success of early 2000s BBC comedy series Marion & Geoff – had a cameo.

One fateful day it began to rain, and so Winterbottom put the two actors in the make-up truck and asked them to improvise a conversation. Recalls Brydon, “My memory of that shoot is that I was probably trying a bit harder than I would now. I mean, I’m naturally more inclined to entertain than Steve is. I take more pleasure in making people smile than he does. And what happened that day was that Michael told us, ‘Just talk.’ Now, Steve and I can do that very easily, so in we went, and we did it. We ended up at the beginning of the film and it became a very popular part of it.”

Two years later, Winterbottom took the two for lunch, and he told them about his about his idea for a project that would later become The Trip. “And initially we both said no,” says Brydon. “I thought, ‘We’ll never get enough good stuff.’ Thankfully I was wrong.”

Coogan agreed with Brydon’s original misgivings. “I thought what we did was quite funny,” he says, “but I didn’t think it would stretch to a whole film. But Michael kept pushing it, even though we really didn’t think that was the case. So it’s really Michael who’s responsible for it. Of all the things I do, The Trip is the thing I’m least in the driving seat for, really. With all the other projects I’m involved with, I’m usually there from the conception of it, but with this, Rob and I are simply wheeled out by Michael, prodded with a stick and made to perform, as it were. It was Michael’s conviction that it would work.”

Says Winterbottom, “In Tristram Shandy it seemed to me that the scenes with Steve and Rob improvising – especially in the opening – felt like they were funniest bits and the most enjoyable bits to do. And certainly the easiest bits, from my point of view, because I didn’t have to do anything except watch them.”

Further inspiration came from Tristram Shandy’s author, who gave Winterbottom the idea he needed to bring the two back together. “After Tristram Shandy,” he explains, “Sterne wrote another book, called A Sentimental Journey Through France and Italy, which was mocking travel writing. In the 18th century there were a lot of books about travelling and people going on a grand tour. He was mocking that, and making fun of it, but in a very enjoyable way. So I felt that it would be in the spirit of Sterne to do a mock travel piece with Steve and Rob.”

THE TRIP TO ITALY – The Review

As the Summer winds down to a precious few last days, many folks wait until the season’s last hurrah, the Labor Day holiday, to finally “get outta’ Dodge”. If you can’t find the time or funds perhaps you can head to the theatre and watch someone else hit the trail. A few weeks ago movie goers watched two men of a certain mature age head off for adventure in Iceland in LAND HO in an improvisational pseudo-documentary. Well, now two seasoned comedy pros who scored with a similar flick a few years back have returned to vacation once more. Now I’m not talking about a re-discovered, unearthed from the film vaults Hope and Crosby road picture. No sir, this is the return of a more recent comedy team: Steve Coogan and Rob Brydon, and unlike most teams they take turns being the straight man. Four years ago director Michael Winterbottom (A MIGHTY HEART) followed them around Britain as they ate fabulous meals, stayed in plush hotels, viewed the gorgeous countryside, and engaged in hilarious comedic riffs for a celebrated BBC-TV show which was edited down to the raucous travelogue, THE TRIP. So, where do they journey for this new outing? Pack your bags, appetites, and funny bones as Steve and Rob embark on THE TRIP TO ITALY.

As this entry begins Steve Coogan gets a call from his old pal Rob Brydon. Seems that the Observer was so pleased with their articles from four years ago, they want to send the guys to Italy. Since Coogan’s latest TV series didn’t get renewed, he’s ready for a change of scenery. Soon they’re driving through the countryside in a rented Mini-Cooper, which inspires another round of dueling Michael Caine impressions at the first of six luxury restaurants, along with other comedic flights of fancy. For one meal they must board a plush sailcraft run by two lovely English-speaking hostesses. As the trip continues we learn that much of the dynamic from the first film has changed. At the end of the evenings the newly sober Coogan rushes to his laptop for video-chat bonding with his sixteen year-old son Joe (Timothy Leach), who seems to be constantly clashing with Coogan’s ex-wife. Brydon is the focus of much of the tension this time as his idyllic marriage appears to be straining at the seams despite their recent addition, an adorable daughter. While he faces temptation, Rob also braces for a possible career change as he prepares to audition for a high-profile American feature film. But as the two men deal with problems back home, they must keep going and endure the delicious meals and sublime sights and sounds of Italy. Oh, the humanity…

The film works because of the easy rapport and affection between the two British comic stars. But this is not merely a rehash of what worked so well in the previous outing (one of their topics is the disappointment factor in sequels, much as with this Summer’s 22 JUMP STREET). This film version of Coogan (similar to actors playing themselves in shows such in TV shows like “Extras” and “Curb Your Enthusiasm”) references some of the tabloid stories about him and so “Trip Steve” eases up on the booze and skirt-chasing. He’s turning into a more responsible adult especially in his exchanges with Leach as that rare teenager that really likes hanging with Dad. But there’s still a touch of the earlier arrogant Steve as his jealousy flares at the thought of Rob bagging a major movie gig. The big surprise here is the change in the often annoyingly affable Brydon (who acknowledges his “nice guy” rep in a great riff). He’s still too eager to please and quick with a celeb mimic (his Hugh Grant is stunning), but here we get that’s it often masks his insecurities and relationship problems. He’s about to enter the higher show biz echelons like Steve, and it worries him. That and the fact that this nice guy is engaging in some not-so-nice behaviors. I’m making this sound like heavy drama, but really the laughs are as long and frequent as the first flick, particularly when Steve calls out Rob on some iffy bits of mimicry (really what’s up with his Christian Bale?). Happily Steve’s nurturing agent/rep Emma played again by Claire Keelan joins them with her own big life change. Oh, and the dishes (not just pasta!) look mouth-watering with several shots of the busy kitchen crew crafting their art (really great presentations). Plus the Italian scenery at the beach, overlooking the hills, and inside the city (Steve steering his lil’ Cooper through those busy Rome streets is a true nail-biter!) should cause a big spike in tourism. Once more director/writer Winterbottom has given us another superb comedy travelogue with two of the screen’s funniest duos. Leave the passport at home and be sure and grab a ticket for THE TRIP TO ITALY.

4 Out of 5

THE TRIP TO ITALY screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

Win Tickets To The Advance Screening of THE TRIP TO ITALY in St. Louis

Michael Winterbottom’s largely improvised 2010 film, THE TRIP, took comedians Steve Coogan and Rob Brydon—or semi fictionalized versions thereof—on a restaurant tour around northern England.

In this witty and incisive follow-up, Winterbottom reunites the pair for a new culinary road trip, retracing the steps of the Romantic poets’ grand tour of Italy and indulging in some sparkling banter and impersonation-offs. Rewhetting our palates from the earlier film, the characters enjoy mouthwatering meals in gorgeous settings from Liguria to Capri while riffing on subjects as varied as Batman’s vocal register, the artistic merits of “Jagged Little Pill,” and, of course, the virtue of sequels. Winterbottom trains his camera to capture the idyllic Italian landscape and the gastronomic treasures being prepared and consumed while keeping the film centered on the crackling chemistry between the two leads.

THE TRIP TO ITALY effortlessly melds the brilliant comic interplay between Coogan and Brydon into quieter moments of self-reflection, letting audiences into their insightful ruminations on the nuances of friendship and the juggling of family and career. The result is a biting portrait of modern-day masculinity.

WAMG invites you to enter to win passes to the advance screening of THE TRIP TO ITALY on Monday, August 25th in the St. Louis area.

Answer the following:

Name the 2005 British comedy directed by Michael Winterbottom and starred Steve Coogan and Rob Brydon.

OFFICIAL RULES:

1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.

2. ENTER YOUR NAME AND ANSWER IN OUR COMMENTS SECTION BELOW.

3. NO PURCHASE NECESSARY.

The film is unrated

THE TRIP TO ITALY OPENS IN ST. LOUIS THEATRES
ON FRIDAY, AUGUST 29th

ifcfilms.com/films/the-trip-to-italy

THE TRIP TO ITALY Trailer Reunites Steve Coogan and Rob Brydon

Prepare yourself for another culinary delight from director Michael Winterbottom in this new preview for THE TRIP TO ITALY – the sequel to THE TRIP.

In the 2010 film, Steve Coogan is asked by The Observer to tour England’s finest restaurants and envisions it as the perfect getaway with his beautiful girlfriend. But, when she backs out on him, he has no one to accompany him but his best friend and source of eternal aggravation, Rob Brydon. As the brilliant comic duo, freestyling with flair, drive each other mad with constant competition and showdowns of competing impressions (including dueling Michael Caines, Sean Connerys and Al Pacinos), the ultimate odd couple realize in the end a rich amount about not only good food, but the nature of fame, relationships and their own lives.

Only this go around, the two are asked by The Observer to do another series of restaurant reviews and head off on a road trip around Italy. The journey offers them six meals in Liguria, Tuscany, Rome, Amalfi and ending in Capri.

Someone give these two a weekly TV show in the U.S. – I’m thinking something along the lines of a buddy-cop show.

In the new film, Rob, tired from the responsibilities of being father of a young child, is looking for some adventure. Steve has been living a life of abstinence and hard work in Los Angeles but, now on a hiatus from his job, has the time to come back to Europe and wants to see his children.

They talk about things like Life, Love, Work and Exile. They discuss Byron and Shelley, Romantic poets whose lives were defined by their time in Italy. We will see the journey they go on, the hotels they stay in, the restaurants they eat in, the kitchens and chefs that make the food and then the bill at the end.

Coogan’s latest feature film credits include PHILOMENA starring alongside Judi Dench and directed by Stephen Frears. The movie was released in the UK and the US in November 2013 and received numerous five-star reviews. Coogan co-wrote PHILOMENA with Jeff Pope and the film garnered four Academy Award nominations.

Having screened at the 2014 Sundance Film Festival, THE TRIP TO ITALY plays this week (May 30) at the Seattle International Film Festival.

IFC Films will release the film in theaters August 15th.

TRISHNA – The Review

Review by Dane Marti

Starring the spellbinding Indian actress, Freida Pinto, the film, TRISHNA impressively examines a modern relationship in all its complex angles – by turns, the story is tragic, realistic, subtle and entertaining: Nothing in this film seems plastic or contrived.

Neither as hyperkinetic as SLUMDOG MILLIONAIRE or as Hollywood-infused as RISE OF THE PLANET OF THE APES (two of Pinto’s earlier hit movies), this evocative film is a treat in more ways than one:

Trishna lives with her family in a rather poor village in an Indian state known as Rajasthan. She’s the oldest daughter and definitely the prettiest, although the entire world doesn’t stop and stare hungrily as she walks the countryside. The role could easily have been played by an average looking person and still worked as well. The reason why this actress was chosen for the role is that she is talented, a “name” and – well, she makes the viewer want to take the films journey with her!

In contrast to her humble world, Jay is a much more ‘westernized’ young man. Played with understated honesty by Riz Ahmed, Jay is both wealthy and hip. His father is a blind and powerful property owner who dotes on budgies in his spare time. Jay’s family compound is very spectacular. Hell, I’d definitely live there.

The attractive couple meet at a dance; their attraction happens slowly, yet seems much more sincere than a plethora of stilted, cinematic love stories continually being cranked-out by tinsel town like obese sausages.

Still, as cute as the young couple seems to be, there are also unpleasant problems lurking in their future: it’s akin to an influenza which infects a society and cannot be brushed aside due to the dictates of sweet, effervescent love: Basically, they are from drastically different levels of society! Meanwhile, the world keeps shifting.

Although beautiful, the actress is able to play a character who isn’t simply glamorous and gleaming, but uncertain and cautious about her place in modern India. Dedicated to her poor family, Trishna is definitely lovely on the inside as well as on the exterior! Pinto cleverly conveys her character’s uncertain feelings about Jay’s glitzy, larger existence: Mumbai.

At the start of the film, Trishna is shy and immersed in her tightly knit family, but a viewer can tell that she wants to be released and experience new things; On the other hand, his “world” fills her with wonder, along with more than a little uncertainty. These feelings and thoughts are exacerbated as the film moves steadily toward its climax.

Thankfully, this basic premise does not become the obligatory Romeo and Juliet-type love story, but a vivid and solemn investigation of a bond in modern India. Not everything is picture-postcard perfect. Painful, provocative truths come to head as the film moves forward.

Director Michael Winterbottom has shown himself to be skilled in diverse and different cinematic worlds: whether it is a film dealing with club music, or violent, savage Noir (The Killer Inside Me), Winterbottom is an underrated filmmaker, a masterful director that never veers too far into either the traditional “genre” landscape or the artistic, ambiguous environment of certain independent or foreign films. Normally dealing with a medium-sized budget, he is a skilled, impressive movie director.

Based on Thomas Hardy’s famous novel Tess of the D’Ubervilles, the film compassionately demonstrates what happens when love and culture collide! Industrialization, modernization and education all play a vital part in distorting the film’s lovers, just as these same elements in society have mutated the actual people who live in the country. Of course, this isn’t extraordinary to India alone, but happens in all cultures, climates and countries. It’s just that it seems highlighted within India and that helps the movie’s narrative breed and fester.

Education has enlightened Trishna as a person. However, although she has dreams and ambition, she finds it hard to reconcile these thoughts and desires with the significant love and bond she shares with her rural family. The performance by the actress is first-rate at conveying this. Pinto continues to shine as an actress. Pinto astounds the viewer. Her performance is a revelation.

The cinematography is realistic; sometimes movie viewers have to remind themselves that they aren’t watching a documentary. The local color, architecture and people are on realistic and compassionate display. Even with this attention to cultural detail, the narrative never gets bogged down: The story keeps clapping along, even as we see a unique, living landscape.

By turns sweet and compassionate, the movie is a treat. Anyone who enjoys thoughtful, intelligent stories set in cultures unlike the typical cinematic blockbuster will find this movie to be a welcome respite.

TRISHNA opens in St. Louis today at Landmark’s Plaza Frontenac Theater

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this: