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August 14, 2017

New Frontiers, the Many Worlds of George Takei

by Raleigh Barrett
August 07, 2017

Six days on the Camino de Santiago

by NoHo - North Hollywood
August 07, 2017

6 Financial Tips for Your Aging Parents

by Lillian Appleby
August 02, 2017

Reviews of Dunkirk; The Big Sick

by Mike Peros
August 01, 2017

5 Dating Mistakes Men and Women Make

by Cristina Morara
July 31, 2017

Free Monthly Horoscopes - August 2017

by Maya White
July 25, 2017

Three Essential Interior Design Must Haves

by Christopher Porikos
July 24, 2017

INTERVIEW WITH PAUL STORIALE

by Waide Aaron Riddle
July 21, 2017

Actors, are you easy to find?

by Fran Montano
July 18, 2017

Energic Dogs Need Variety

by Gerie Rhosen
July 16, 2017

The Power of One….mentor

by Jessie Marcus
July 14, 2017

“Betty Rox the World of Dancehall”

by Luckie
July 12, 2017

Kiva Garber-Maikovska’s Dog Furs Fury

by Raleigh Barrett
July 07, 2017

How to Move Out of Your Parents House

by Lillian Appleby
July 03, 2017

Horoscopes - July 2017

by Maya White
June 28, 2017

Very Independent Filmmaking and the Art of Hovering

by Samantha Simmonds-Ronceros
June 26, 2017

Thinking about getting rid of your puppy?

by NoHo - North Hollywood
June 22, 2017

Keep on going and keep on doing!

by Fran Montano
Tuesday, 09 August 2016 12:11

Suicide Squad; Jason Bourne; Café Society

Suicide Squad; Jason Bourne; Café Society

Published in Movie Reviews

Jay Roach’s funny but uneven political spoof The Campaign pits morally lax incumbent North Carolina congressman Will Ferrell against insecure, uptight tour guide Zach Galifianakis.  Before you can say “no contest,” Galifianakis, with some seriously shady financial backing, not to mention a shark of a campaign manager (Dylan McDermott), manages to give the previously unopposed Ferrell a run for his money, as the two candidates descend to the kind of overzealous one-upmanship (including a novel use of a sex video) that gives politics a bad name.   While the movie makes some passing references to the current economic situation and the power of the media, much of what occurs is a little too silly, with a corresponding lack of insight, to make this a genuine political satire.  Despite this lack of artistic ambition, The Campaign is pretty funny, with a few hilarious sequences including a dinner in which Galifianakis learns more than he wanted about family secrets, and a scene involving the overly eager candidates and a baby.  There is solid support form Dan Aykroyd and John Lithgow as Galifianakis’ rapacious backers, Jason Sudeikis as Ferrell’s campaign manager, and Dylan McDermott as Galifianakis’ campaign manager from Hell-almost literally.  As for the candidates: I've rarely found Galifianakis funny in the past, yet here he manages to be likable and appealing, even when he engages in some down and dirty dealings.  Ferrell’s incumbent also manages to retain his likability, even when indulging in the must outrageous, childish behavior.  Amidst all the shenanigans, there is a quiet scene where Ferrell and Galifianakis share some bourbon and reflections. It is not a particularly funny scene (nor was it intended to be), but it manages to convey some of the characters’ decency, so that what happens at the end of the contest is not totally unexpected or unfounded.

The sunny trailers for David Frankel’s Hope Springs might lead you to believe this may be a cheerful comedy about post mid-life crisis, but it’s much more serious than that.  Meryl Streep and Tommy Lee Jones’ lengthy marriage has fallen into a malaise of hasty morning goodbyes, unrelieved small talk (if any) at dinner, separate bedrooms, and nothing in the way of intimacy.  While Jones is seemingly content with how things are, Streep has decided (over Jones’ objections) that they will travel to a small town in Maine (called-you got it-Hope Springs) for some intensive couples therapy with compassionate counselor Steve Carell. There is some humor here- in the befuddled, cantankerous Jones’ reactions to small town life, as well as Streep’s sojourn in a tavern (under the watchful eye of bartender Elizabeth Shue—somebody get that actress more work). However, the wrenching power of the movie is in the portrayals of Streep and Jones.  They are entirely convincing as a couple whose relationship is more like that of roommates than of soulmates. One can see Streep’s insecurity as she wonders if she is still attractive to Jones, as well as Jones’ fear that he is no longer the man he was-or that Streep deserves.  The most intense scenes are in the therapist’s office as they lay bare, under Carell’s gentle prodding, all the disappointments and regrets-as well as the happy memories that caused them to find each other in the first place.  The movie shows is how easy it is for two people to fall into marital monotony, to forego meaningful communication in favor of impersonal distance.  Where the movie occasionally falls down is in not trusting the actors’ abiltities and instead adding some music to needlessly underscore the emotional moments.  In spite of this shortcoming, the exquisite artistry of Streep and Jones should manage to move the hardened heart.

Published in Archived Movie Reviews
Once again, it’s time to catch up with one of those buried treasures: an end-of-year gem that was lost in the last-minute deluge of prospective, presumed Oscar worthies and is even  now, swamped by the box office returns of here today, gone tomorrow popcorn fodder such as The Rite.  As it is, The Company Men, beautifully written and directed by John Wells, has received no love from Oscar, even in a field that allows ten entries for Best Picture–yet it deserves to be there.
Published in Archived Movie Reviews

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