GOING IN STYLE (2017) Provides Mediocre Comedy

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going_in_style poster.jpg

GOING IN STYLE (2017) is a remake of a 1979 film of the same name by writer/director Martin Brest that starred George Burns, Art Carney, and Lee Strasberg as three senior citizens who decided to spice up their lives by robbing a bank.

This time around, the director is Zach Braff [from TV’s SCRUBS (2001-2010)] and the three elderly friends are played by Michael Caine, Morgan Freeman, and Alan Arkin.

I enjoy these three actors a lot, and they’re the main reason I wanted to see this movie.

The story has been updated to 2017, and the plot has as its villain the “evil” bank which is responsible for taking away these men’s homes and their pensions.

Joe (Michael Caine) is unhappy because his bank was less than clear about his refinanced mortgage, and as a result, his monthly payment has tripled.  He can no longer afford the payment, and since his daughter and granddaughter live in the house with him, he does not want to lose his home.

To make matters worse, he and his buddies Willie (Morgan Freeman) and Albert (Alan Arkin) learn that the company they had worked for is shifting its workforce overseas, and as a result it’s cancelling their pensions.

When Joe visits his bank to argue about his mortgage, three masked men burst in and hold it up.  They get away with the money, which gets Joe to thinking:  if he and his friends robbed a bank, his bank, they’d get their pensions back.  Worse case scenario, they go to jail, which for them isn’t so bad since they don’t have a lot of years left to live.  As Joe says to his buddies, in prison, they’ll have a roof over their heads, three meals a day, and better health care than they have in the outside world.

While Willie and Albert don’t agree at first, eventually they change their minds and set their sights on robbing a bank.

GOING IN STYLE is a likable enough movie, but it’s nothing that hasn’t been done before or done better.

In spite of its realistic plot points of the manipulative bank giving Joe misleading information about his mortgage, and the company cancelling its pensions because it’s moving overseas, the film just isn’t very believable, which is surprising because the screenplay, based on the 1979 screenplay by Edward Cannon, was written by Theodore Melfi.  Melfi wrote the screenplay for ST. VINCENT (2014) and HIDDEN FIGURES (2016) two films that I liked a lot.  His script here for GOING IN STYLE is nowhere as crisp as his work on those other two movies.

The story just never becomes real.  I never believed that these three guys would really rob a bank, or that they’d actually get away with it.  The film is more a set-up to have Caine, Freeman, and Arkin interact with each other.

And sure, they’re fun to watch, but the problem is I’ve seen these actors far funnier in other movies than they are here.  Which brings me to the biggest problem with this movie. It’s one thing for a comedy not to have the most believable plot, but it’s quite another for it not to be funny, and I just didn’t find this film all that humorous.

Sure, there are lots of little bits here and there that caused me to chuckle, and Caine, Freeman, and Arkin did a fine job with these little bits, but I rarely laughed out loud.  Part of the problem is the film is rated PG-13, and so the language is tame, which really works against a guy like Alan Arkin who can be hilariously funny when his humor is untamed. He’s very reserved here, as are Caine and Freeman.

The plot also goes to the syrupy sweet aisle one too many times.  Scenes with Caine and his granddaughter made me want to gag they were so cliché, as well as a subplot where Freeman’s character befriends a little girl during the heist.

Christopher Lloyd is also on hand as another friend, Milton, and he does his loony Christopher Lloyd shtick throughout which like a lot of other parts in this film, seemed old and tired.

The most energetic performance in the film clearly belongs to Ann-Margret who plays a woman trying to seduce Alan Arkin’s character, and this provides the film with its most unintentional  laugh as he resists her!  Who in their right mind would resist Ann-Margret? And at 75, she still looks amazing!  I was flabbergasted by how good she looked in this film.  Wow!

Joey King is okay as Caine’s granddaughter Brooklyn, and Peter Serafinowicz does a nice job as Caine’s ex-son-in-law. John Ortiz plays a man name Jesus who teaches them how to rob a bank.

Matt Dillon also appears as a less than intelligent FBI agent.  Like the rest of the film, his performance is nothing I haven’t seen him do before and do better.

GOING IN STYLE is a likable enough movie, but sadly it didn’t possess enough biting humor or a believable enough story for it to completely work for me, even with the presence of Michael Caine, Morgan Freeman, and Alan Arkin.

It’s a strictly by-the-numbers comedy that could have benefitted from both sharper writing and directing.

A little more style would have been greatly appreciated.

—END—

 

 

 

 

 

 

 

 

Worst Movies of 2016

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And here’s a look at my Top 10 List for the worst movies I saw in 2016:

10. HAIL CAESAR!

Coming in at #10 it’s HAIL CAESAR!, a misfire from the Coen brothers.  Don’t get me wrong, this period piece depicting 1950s Hollywood looks terrific.  But the script doesn’t really work.  It has the makings of a screwball comedy, but the Coen brothers opt to play up the drama instead, and so the main character is straight man Hollywood fixer Eddie Mannix (Josh Brolin) who goes around getting actors and actresses out of the various messes they’ve gotten themselves into, all in the name of protecting the studio’s image.  And so the screwball tale of lead actor Baird Whitlock (George Clooney) being kidnapped is pushed into the background, downplaying Clooney’s considerable comedic talents. The film is basically a bunch of unfunny vignettes with a serious but dull wraparound story featuring Brolin’s Eddie Mannix.  Should have been much better.

 

9. BATMAN V SUPERMAN:  DAWN OF JUSTICE

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Easily my pick for the worst superhero movie of the year.  Batman and Superman lock horns in a story that never makes much sense.   The two superheroes hate each other in the first place, which weakens the plot point of villain Lex Luthor’s plan to pit them against each other, and later the moment when the two future superfriends make amends simply doesn’t ring true.  Best part:  Gal Gadot as Wonder Woman.  Worst part:  Jesse Eisenberg as Lex Luthor.

 

8. THE CONJURING 2

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A major disappointment.  This sequel to the excellent horror movie THE CONJURING (2013) is a bust, even with the return of original director James Wan, and lead stars Patrick Wilson and Vera Farmiga.  Film offers nothing new.

 

7. THE BROTHERS GRIMSBY

Horribly unfunny comedy by Sacha Baron Cohen about two brothers, one an assassin, the other a full-fledged loser, who team up to take on the bad guys.  This one had a hilarious trailer, but that’s all.

 

6.THE DARKNESS

Another lame horror movie, this one about a demon which haunts a family after they take a trip to the Grand Canyon.  Stars Kevin Bacon.

 

5. MECHANIC:  RESURRECTION

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One of the worst sequels I’ve seen in a long while.  This sequel to one of Jason Statham’s earlier hits, THE MECHANIC (2011), itself a remake of a 1970s Charles Bronson movie, makes no sense and is simply an excuse to have Jason Statham in some action scenes.  I’m a big Statham fan, but not even his presence here could save this turkey.

 

4. THE FOREST

Yet another terrible horror movie.  There are simply too many of these.  This one takes a real place, Japan’s Suicide Forest, with lots of real potential, and reduces it to a mere setting for a silly story about an American woman searching for her missing sister.  This is one forest not worth visiting.

 

3. BLAIR WITCH

Yup, another horror movie, another pointless sequel.  This sequel to the classic THE BLAIR WITCH PROJECT (1999) drops the ball as its story about the younger brother of the main protagonist in the original film offers nothing new.  Yup, you won’t find any neat revelations here regarding the mysterious events in the first film.  A huge waste of time.

 

2. HARDCORE HENRY

This actioner deployed the gimmick of being shot entirely from the first person perspective of the main character, who we never see since the story unfolds through his eyes.  The result is a movie which plays like a video game, but of course, the viewer isn’t playing this game, so unless you like watching other people play video games, you might want to skip this one.  Not even the presence of the talented Sharlto Copley can save this shallow flick.

 

1. INCARNATE

incarnate

My pick for the Worst Movie of 2016 is a no brainer.  Easily the worst horror movie of the year and the worst movie of the  year, INCARNATE wastes the talents of a fine actor like Aaron Eckhart and sticks him in a ridiculous story about demonic possession.  The gimmick here is Eckhart’s character approaches demonic possession from the psychological standpoint, and enters the victims’ dreams to expel the demons.  Kinda like a heroic version of Freddy Kruger, only without the wit.  A mess from start to finish, this one makes little sense, nor does it try to.

And there you have it, my picks for the Worst Movies of 2016.

Thanks for reading!

—Michael

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

 

 

Best Movies of 2016

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La La Land (2016)Sebastian (Ryan Gosling) and Mia (Emma Stone)

Ryan Gosling and Emma Stone in LA LA LAND (2016

 

Here’s a look at my picks for the Top 10 movies of 2016.  Of course, while I do see a lot of movies— 58 this year, and that’s just theatrical releases—  I’m not able to see every movie that comes out, and so this list is limited to only those movies I have seen.

We’ll start with #10 and count down to #1:

 

10. THE INFILTRATOR

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Excellent performance by Bryan Cranston powers this crime drama which tells the true story of how U. S. Customs Official Robert Mazur (Bryan Cranston) went undercover to take down a  Columbian drug lord.

 

9. THE JUNGLE BOOK

Loved this remake of Disney’s animated THE JUNGLE BOOK (1967), and I’m a huge fan of that original 1967 animated classic.  Special effects here were amazing, and I really liked how director Jon Favreau made this family friendly film a serious hard-hitting adventure.

 

8. DEADPOOL

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The role Ryan Reynolds has been waiting for.  Sure, this vulgar, violent tale isn’t for everybody, but the humor is spot-on.  My second favorite superhero movie of the year. Best part is it is so unlike other traditional superhero movies.

 

7. CAPTAIN AMERICA: CIVIL WAR

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My pick for the best superhero movie of 2016.  Plays much more like THE AVENGERS 2.5, rhis exciting tale pits Team Captain America vs. Team Iron Man, and the rift between these two friends comes off as real and believable, something that the similarly themed BATMAN V SUPERMAN:  DAWN OF JUSTICE (2016) failed miserably at.  The scenes with newcomer Tom Holland as Spider-Man are off-the-charts good.

 

6. EDGE OF SEVENTEEN

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Hilarious comedy-drama starring Hailee Steinfeld as a seventeen year-old dealing with life as a teenager.  Things get complicated when her best friend starts dating her older brother.  Topnotch script and direction by writer/director Kelly Fremon Craig.

 

 

Now we get down to my picks for the Top 5 movies of 2016:

5. HANDS OF STONE

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Critics panned this movie, but I absolutely loved this boxing pic about boxing champ Roberto Durant.  Edgar Ramirez  gives a spirited performance as Roberto Durant, and he’s supported by a fine cast which includes Robert De Niro, Ruben Blades, and Usher Raymond as Sugar Ray Leonard.  Excellent movie, much better than critics gave it credit for, although admittedly I am a sucker for boxing movies.

 

4. HELL OR HIGH WATER

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Easily could be my pick for the best movie of the year, this impeccably made crime drama follows a Texas crime spree by two brothers Toby (Chris Pine) and Tanner Howard (Ben Foster) with an old Texas Ranger Marcus Hamilton (Jeff Bridges) hot on their trail.  Features fantastic peformances by the three leads.  Jeff Bridges is amazing as always, and the same can be said of Ben Foster, and it’s also fun to see Chris Pine get to do a whole lot more than when he plays Captain Kirk in the rebooted STAR TREK movies.  Riveting direction by David Mackenzie, and a phenomenal thought-provoking script by one of my favorite screen writers working today, Taylor Sheridan.

 

3. SULLY

Easily the most efficient film of the year, SULLY, starring Tom Hanks, and directed by Clint Eastwood, clocks in at a brisk 96 minutes, and not a minute is wasted.  It tells the emotionally riveting true tale of pilot Chesley Sullenberger, aka “Sully,” and his decision to make an emergency landing on the Hudson River.  It’s an amazing story because all the passengers on the plane survived, and the film makes things even more compelling as it follows the subsequent investigation by officials who questioned Sully’s decision to land in the water in the first place.  SULLY features another remarkable performance by Tom Hanks, and yet another superb directorial effort by Clint Eastwood.  Eastwood is 86 years old, and yet SULLY plays with as much energy, oomph, and emotion as if directed by someone half that age.  I left the theater incredibly impressed.

 

2. MANCHESTER BY THE SEA

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This film could also have been my number one pick of the year.  MANCHESTER BY THE SEA is a finely acted drama, led by two powerhouse performances by Casey Affleck and Michelle Williams, about a man Lee Chandler (Casey Affleck) thrust into a life-changing situation as he finds himself having to care fo for his deceased brother’s sixteen year-old son.  His life in a shambles due to an earlier traumatic event, Lee knows he’s not the man for the job, but since there is no on else, he pushes himself to live up to his brother’s wishes and care for his nephew. Atmospheric direction by writer/director Kenneth Lonergan, with a script that is as honest and believable as they come.

And now, for my pick for the Number 1 movie of 2016:

 

 

  1. LA LA LAND

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My pick for the Best Movie of 2016 also happened to be the last movie I saw in 2016, LA LA LAND.  What a fabulous way to end the calendar year!  LA LA LAND is an absolutely wonderful movie.

I  loved the energy writer/director Damien Chazelle brings to this one.  The opening dance number on a gridlocked L.A. freeway dazzles, and the film never looks back.  Emma Stone gives the best performance of her career to date, imbuing her struggling actress character Mia with so much raw emotion and quirky pizzazz she’s one of the liveliest characters I’ve seen on screen in a long while. Ryan Gosling is just as good as jazz musician Sebastian in this uplifting almost magical musical which follows Mia and Sebastian through a romance in which they help each other achieve their artistic dreams before reality ultimately sets in, forcing them to make decisions which affect their future.  A remarkable movie and genuine crowd pleaser.

Hands down, LA LA LAND is the Best Movie I saw in 2016.

Okay, that about wraps things up for today.  Thanks for joining me in 2016, and here’s to another fine year of movies in 2017!

Thanks for reading!

—Michael

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

 

 

 

LA LA LAND (2016) – The Stuff That Dreams Are Made Of

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la_la_land_poster

It’s the stuff that dreams are made of.

So says Humphrey Bogart at the end of THE MALTESE FALCON (1941), words that perfectly sum up LA LA LAND (2016), but before you dismiss this uplifting musical from the director of WHIPLASH (2013) and starring Ryan Gosling and Emma Stone as pure happy fluff, there’s another Bogie quote which does this movie even more justice.

From CASABLANCA (1942):  We’ll always have Paris. We didn’t have, we— we lost it until you came to Casablanca. We got it back last night.

Bogie’s words of wisdom, of course from a script by Julius J. Epstein, Philip G. Epstein, and Howard Koch, go a long way in understanding and appreciating where the plot of LA LA LAND ultimately goes.

LA LA LAND opens with a spectacular musical dance number  on a gridlocked L.A. freeway which hearkens back to the great musicals of yesteryear. In this traffic jam, the paths of two characters, a young actress Mia (Emma Stone) and a jazz musician Sebastian (Ryan Gosling), cross in a none-too pleasant way.

After this chance meeting, the two characters briefly go their separate ways.  Mia works at a coffee shop, struggling to fulfill her dream of becoming an actress, suffering through one brutal audition after another.  Sebastian is a jazz musician who dreams of opening his own club but struggles to hold onto any music gigs because he’s frustrated he can’t play the music he really wants to as he’s forced to play fluff and background music rather than true jazz.

When their paths cross again, and later again, Mia and Sebastian finally start paying attention to each other, and a romance blossoms. Not only do they get along wonderfully, but they also inspire each other’s dreams.  Sebastian gives Mia the confidence she needs to become a better actress, specifically encouraging her to bypass the awful auditions altogether and to write and star in her own one-woman show instead, while Mia nudges Sebastian towards his dream of running his own club, helping him find at long last a paying gig that will eventually finance his club.

But dreams and reality have a way of butting heads, and to become a success, more often than not sacrifices have to be made, something that Mia and Sebastian discover as they realize that their near-perfect relationship and their dreams of artistic success may be mutually exclusive.

I really really enjoyed LA LA LAND.  2016 has come to a strong close as the last two movies I saw this year, LA LA LAND and MANCHESTER BY THE SEA (2016) are among the best movies I saw all year.

First of all, just the energy level alone in LA LA LAND is enough to knock your socks off. Writer/director Damien Chazelle imbues this film with so much oomph, charm, and colorful charisma it’s hard to sit still in the theater.  You want to get up and dance.

The musical numbers here are really impressive and hearken back to so many classic musicals.  Specifically, SINGIN’ IN THE RAIN (1952) comes to mind.  The number where Stone and Gosling literally float into the air is destined to be a classic.

And since this takes place in Hollywood and is about the whole Hollywood culture, there are plenty of references to classic Hollywood movies, like the aforementioned CASABLANCA.  It’s a fabulous script by Chazelle.  He creates a heartwarming romance, brilliant and vibrant musical numbers, and a thoughtful intelligent script that doesn’t let its audience down.  Chazelle did not win the Best Adapted Screenplay Oscar for WHIPLASH (2013).  He may get another chance with his script for LA LA LAND.

Emma Stone is brilliant as Mia.  Hands down, this is the best performance I’ve ever seen her deliver.  She enjoys some amazing moments in this movie, moments where she completely nails it, like the excrutiatingly painful audition where she’s brushed off for a phone call, or the hilarious sequence when she spots Sebastian playing with a wedding band.

I always enjoy Ryan Gosling, and he’s great again here as Sebastian.  He’s charming, likable, and has a winning sense of humor. Best of all, Gosling makes Sebastian’s idealistic dreamer a person grounded in reality.  And that’s what I liked best about Sebastian. Other characters in the film chastize him for being an unrealistic dreamer, but just because he has dreams doesn’t mean he doesn’t possess the ability and wherewithal to achieve them.  He does, and he demonstrates this when he helps Mia with her career.

Reportedly Gosling learned how to play the piano for this movie.  After several weeks of intense piano lessons, he was able to play for his scenes in LA LA LAND without involving trained musicians for the close-up hand shots.  So, even though professionals recorded the music, when you see Gosling playing piano in the film, it’s him, and those are his hands on the keys.  Cool!

Gosling and Stone share a wonderful chemistry in LA LA LAND.  Theirs is a powerful romance in the classic tradition.  There’s not a sex scene in sight, yet the feelings they have for each other come off so strongly that I have to admit, I haven’t been rooting for a movie couple to be together as much as I was for Mia and Sebastian in years.

And LA LA LAND is definitely Gosling’s and Stone’s movie.  In spite of a huge cast of dancers and extras, in terms of characters, it’s pretty much Mia and Sebastian, and with Stone and Gosling playing these roles, that’s more than enough.

The music is also wonderful, from the dance numbers to the jazz performances.  It’s a lively score by  Justin Hurwitz.  This is one soundtrack you’ll definitely want to own.

LA LA LAND is an incredibly enjoyable movie, bursting with so much emotion you’ll be hard pressed to keep from applauding, singing along, or even dancing.  From the pure happiness of Mia and Sebastian’s early relationship, a truly magical time together, to the concern when their lives reach the point where they question what they are doing, to the inevitable ending which regardless of how you feel about it, ultimately rings true, and for me, that’s all that matters.

I loved LA LA LAND.  It’s one of the best movies of the year.

—END—

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

 

 

 

 

 

Leading Ladies: FAY WRAY

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Ann Darrow (Fay Wray) in King Kong’s clutches in KING KONG (1933).

Welcome back to LEADING LADIES, that column where we look at leading ladies in the movies, especially horror movies.  Up today, it’s Fay Wray, the woman who King Kong carried to the top of the Empire State Building in KING KONG (1933).

Fay Wray had a ton of credits.  She began her career as a teenager in silent movies, and so by the time she made KING KONG in 1933 at age 26, she had already amassed fifty four screen credits!

All together, Fay Wray had 123 screen credits, but none bigger than her role as Ann Darrow in KING KONG.

Here’s a partial list of Wray’s movie credits:

GASOLINE LOVE (1923) – Fay Wray’s first screen credit.

THE COAST PATROL (1925) – Beth Slocum- Wray’s first feature film role.

DOCTOR X (1932) – Joanne Xavier- horror movie with Lionel Atwill, famous for being shot in Technicolor.

THE MOST DANGEROUS GAME (1932) – Eve Trowbridge – Thriller directed by KING KONG director Ernest B. Schoedsack and featuring Carl Denham himself, Robert Armstrong.

THE VAMPIRE BAT (1933)- Ruth Bertin- classic horror movie featuring Lionel Atwill, Melvyn Douglas, and Dwight Frye.  Atwill is the mad scientist, Douglas the hero, Wray the heroine, and Frye is the creepy guy the villagers think is the vampire— but they’re wrong.  Very atmospheric creepy horror movie.

MYSTERY OF THE WAX MUSEUM (1933) – Charlotte Duncan – Reunited with Lionel Atwill in yet another classic horror movie.  Like DOCTOR X, it was also shot in color and was believed to have been lost for decades before being re-discovered in the late 1960s.  Directed by Michael Curtiz, who also directed that little wartime movie, CASABLANCA (1942).

KING KONG (1933) – Ann Darrow – the film that made Fay Wray a star, and she spends most of it screaming, as she is abducted and chased by Kong throughout.  Directed by Merian C. Cooper and Ernest B. Schoedsack, with an outstanding music score by Max Steiner, and starring Robert Armstrong, Bruce Cabot, Wray, and of course King Kong.  Amazing special effects by Willis O’Brien.  This classic movie still holds up wonderfully today.  By the way, Wray was not blonde.  She wore a wig for her most famous role.  That is her real scream, though.

MASTER OF MEN (1933)- Kay Walling- The last of eleven movies Wray made in 1933!

BLACK MOON (1934) – Gail Hamilton – Horror movie about a voodoo curse, directed by Roy William Neill, the man who in addition to directing many of the Basil Rathbone Sherlock Holmes movies also directed FRANKENSTEIN MEETS THE WOLF MAN (1943).

WOMAN IN THE DARK (1934) – Louise Loring – Crime movie starring Ralph Bellamy and Melvyn Douglas, based on a book by Dashiell Hammett.

THE CLAIRVOYANT (1934)- Rene – Effective mystery/horror movie with Claude Rains as a fake clairvoyant who suddenly finds himself with real predictive powers.

HELL ON FRISCO BAY (1955) – Kay Stanley – Film-noir with Edward G. Robinson and Alan Ladd.

CRIME OF PASSION (1957) – Alice Pope- more film-noir, this time with Barbara Stanwyck, Sterling Hayden, and Raymond Burr.

TAMMY AND THE BACHELOR (1957) – Mrs. Brent-  First of four “Tammy” movies, starring Debbie Reynolds, Leslie Nielsen, and Walter Brennan.

ALFRED HITCHCOCK PRESENTS – “Dip In The Pool” (1958) – Mrs. Renshaw/  “The Morning After” (1959) – Mrs. Nelson – two appearances on the ALFRED HITCHCOCK PRESENTS TV show.

PERRY MASON – “The Case of the Prodigal Parent” (1958) – Ethel Harrison/ “The Case of the Watery Witness” (1959)- Lorna Thomas/ “The Case of the Fatal Fetish” (1965) – Mignon Germaine – several appearances on the classic PERRY MASON TV show starring Raymond Burr.

GIDEON’S TRUMPET (1980) – Edna Curtis – Fay Wray’s final screen credit, in this TV movie starring Henry Fonda based on the true story of Clarence Earl Gideon.

Even though she never had a bigger role than Ann Darrow in KING KONG, Fay Wray enjoyed a long and successful movie career.  She passed away in 2004 at age 96.

Fay Wray – September 15, 1907- August 8, 2004.

I hope you enjoyed this edition of LEADING LADIES.  Join me again next time when we look at the career of another Leading Lady.

Thanks for reading!

—Michael

 

 

 

 

 

 

 

 

 

THE EDGE OF SEVENTEEN (2016) – Comedy-Drama Captures Intensity of Teen Years

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The best movies, regardless of genre, are based on truth.

And that’s what makes THE EDGE OF SEVENTEEN (2016), a coming of age comedy-drama about seventeen year old Nadine (Hailee Steinfeld),  so enjoyable.  It comes across as oh-so-true.

Nadine is the ugly duckling in her family, forever living in the shadow of her near-perfect older brother Darian (Blake Jenner).  Through voice-over narration, we follow Nadine’s difficult childhood, from dealing with school bullies to butting heads with her mother Mona (Kyra Sedgwick) who gets along much better with her son Darian.  Nadine’s one champion is her father Tom (Eric Keenleyside), but in a tragic moment symbolic of her entire childhood, he suffers a fatal stroke behind the wheel of their car while Nadine watches helplessly from the passenger seat.

As she turns seventeen, the one positive for Nadine is her relationship with her best friend Krista (Haley Lu Richardson).  The two girls are inseparable, and being with Krista is the one time Nadine feels happy.  This all comes to a dramatic halt when suddenly Krista starts dating Nadine’s brother Darian.  For Nadine, this is a betrayal and is something she cannot handle.

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Nadine (Hailee Steinfeld) and her best friend Krista (Haley Lu Richardson)

Now feeling absolutely alone, Nadine finds herself at her lowest point ever.  While she continually pours out her troubles to her stoic seemingly non-caring teacher Mr. Bruner (Woody Harrelson) who in spite of his constant snarky comments is always there to listen to her, she adores the hunky Nick (Alexander Calvert) from afar.  She also finds new hope in quirky Erwin (Hayden Szeto), a fellow student who is obviously very interested in her.  Trouble is, she’s not that interested in him.

Sure, this story is nothing new, but what is refreshing and incredibly satisfying about THE EDGE OF SEVENTEEN is the script and direction, both by Kelly Fremon Craig, and the excellent acting performances.

I loved Craig’s script.  The dialogue is sharp, frequently hilarious, and right on the money in terms of what it’s like to be seventeen.  It also especially nails the contentious relationship between Nadine and her mother.  One of movie’s best moments— and there are many of them— is when near the end of the film Nadine texts her mom that she’s safe, and her mother struggles to respond, writing and then deleting angry, fearful texts before finally settling on “OK.”  It’s a poignant moment, one that many parents have to deal with, that battle between being protective and letting go.

But the best part of the script is the humor.  I laughed out loud quite a bit during this movie.  Some of the funnier scenes are between Nadine and Erwin— their scene on the Ferris wheel together is a hoot.  The scenes between Nadine and Mr. Bruner are also very funny.

The serious scenes are equally as good.  The moment where Nadine becomes the punchline of a conversation about the movie TWINS (1987) is pointedly painful.  Likewise, the touching moment near the end of the film where Darian confronts Nadine is satisfyingly powerful.

Craig’s direction is just as good.  The film is lively, quickly paced, and full energy.  THE EDGE OF SEVENTEEN is not a superficial raunchy teen comedy.  On the contrary, it’s a deeply moving comedy-drama about a teenage girl dealing with her troubled life while searching for some meaning to it all.

The acting is wonderful.  Hailee Steinfeld is excellent as Nadine, and she easily carries this movie.  While Steinfeld was particularly memorable several years ago in the remake of TRUE GRIT (2010), I actually enjoyed her more here.  She captures the teen angst which Nadine experiences and makes it real.  She’s believable as a character who just wants to fit in, who wants to have friends, wants to have a boyfriend, but who feels so alienated from other people her own age.  One of the funniest and most insightful scenes is when Nadine goes off on her generation’s incessant use of texting on their phones.

THE EDGE OF SEVENTEEN is Steinfeld’s movie and she owns it.  But she has a fine supporting cast as well.

Haley Lu Richardson is sincere and likable as Nadine’s best friend Krista.  It’s clear that she’s devastated that her new relationship with Darian has damaged her lifelong one with Nadine. In another powerful scene, the moment where Nadine forces Krista to choose between her and her brother is one of the best scenes in the movie.  Krista initially refuses, but with her back against the wall, she chooses Darian.

Hayden Szeto is particularly good as the nerdy Erwin.  Other than Steinfeld, I think Szeto gives the best performance in the film. Erwin is obviously a good person, but Szeto’s performance lifts Erwin above the cliched “nice guy.”  First off, he’s as uncomfortable about relationships as Nadine is, but unlike Nadine, he’s coming from a happier place inside.  You are really rooting for him to win her over.

Kyra Sedgwick is also excellent at Nadine’s mom, Mona.  It’s clear that the reason Mona and Nadine butt heads so much is because they are so similar.  Mona is absolutely lost after her husband dies, and afterwards she is just as miserable as her daughter.  Sedgwick does a fantastic job emoting her pain and unhappiness.  You can see it all over her face.  But Mona is not a hopeless lost parent.  Sure, she struggles and is not going to win any parent of the year awards, but she continues to fight.  One of her more telling scenes is when she gets into a shouting match with her son and she uses the line “I’m the adult here!” to which Darian replies, “Then why do you always call me?”  And at that moment Mona realizes that he’s right, and that she’s been relying on him too much, because as she realizes she has no one else.

Blake Jenner is okay as Darian, and Woody Harrelson does his job as droll Mr. Bruner.  He’s not a particularly effective teacher.  We see him showing movies to his class and teaching them with as much enthusiasm as a study hall monitor, and he speaks to Nadine in ways that could easily get him fired if overheard, but the bottom line is in his own way he’s there for Nadine.  He is her constant listener, and later when she finds herself absolutely alone, it’s Bruner who she turns to, and he doesn’t let her down.  One of his better lines comes late in the movie as he drives her back to her house:  “I know this has to be said, and there’s no other way to say it, so I’ll just come out and say it.  Get out of the car.”

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Nadine (Hailee Steinfeld) with Mr. Bruner (Woody Harrelson).

I really enjoyed THE EDGE OF SEVENTEEN.  While it reminded me of how happy I am that I’m not seventeen anymore, it also captured the promise and energy of what it feels like to have your whole life ahead of you.  Of course, it also captured the pressure, which gives an entirely different meaning to the “edge” in the title.  Rather than being on the verge of seventeen, “edge” here can easily refer to the intensity and sharpness of the age.

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Movie Lists: Gene Wilder

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Gene Wilder shrieking “Give my creation, life!” in YOUNG FRANKENSTEIN (1974).

Welcome to another edition of MOVIE LISTS, the column where you’ll find lists of odds and ends about movies.  Today, we look at films starring Gene Wilder.

Wilder, who passed away on August 29, 2016, was one of the most popular comic actors on the planet between 1974-1982.  Here is a partial list of his film credits:

THE PRODUCERS (1967)- Leo Bloom- if you’ve seen this Mel Brooks comedy, you’ll remember Wilder as the neurotic producer who can’t handle it when the sure-fire flop he and co-producer Max Bialystock (Zero Mostel) plan— a musical about Hitler— becomes a surprise hit.  Wilder at his unstable best.

START THE REVOLUTION WITHOUT ME (1970) –  Claude/Philippe – Having fun with Donald Sutherland during the French Revolution.

WILLY WONKA & THE CHOCOLATE FACTORY (1971) – Willy Wonka – Wilder is excellent in the lead in this Roald Dahl fantasy.  I believe this is the first Gene Wilder movie I ever saw, although it’s not the movie that made me a fan.  That would happen with YOUNG FRANKENSTEIN.

EVERYTHING YOU ALWAYS WANTED TO KNOW ABOUT SEX BUT WERE AFRAID TO ASK (1972)- Doctor Ross.  Wilder is hilarious here as a man who falls in love with a sheep in this wacky yet uneven Woody Allen comedy.  I saw this years after it came out, probably in the early 1980s when I was in college.

BLAZING SADDLES (1974) – Jim – another Gene Wilder/Mel Brooks classic that I didn’t see until years after its release, again in the early 1980s.  I was only 10 in 1974, and BLAZING SADDLES was Rated R, which meant it was off limits to me.

YOUNG FRANKENSTEIN (1974)- Dr. Frederick Frankenstein – this one I did see shortly after it came out, as it was rated PG, and it’s the movie that made me a lifelong Gene Wilder fan.  So many amazing memorable moments in the movie, generated by Wilder and the entire cast, and of course writer/director Mel Brooks.  Among my favorite Wilder bits:  “You just made a yummy sound,” “Put the candle back,”   and “I thought I told you never to disturb me while I’m working!”  

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Gene Wilder and Peter Boyle in YOUNG FRANKENSTEIN (1974).  Hello, handsome!

THE ADVENTURES OF SHERLOCK HOLMES’ SMARTER BROTHER (1975)- Sigerson Holmes- Funny film, but tried too hard to follow the same formula as YOUNG FRANKENSTEIN with inferior results.  Wilder’s directorial debut.

SILVER STREAK (1976) – George- Wilder’s first pairing with Richard Pryor.  Probably my second favorite Gene Wilder movie behind YOUNG FRANKENSTEIN.

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Richard Pryor and Gene Wilder

THE WORLD’S GREATEST LOVER (1977) -Rudy Hickman- Not one of my favorites.  This was the second film Wilder directed, after THE ADVENTURES OF SHERLOCK HOLMES’ SMARTER BROTHER. The jokes just aren’t as sharp this time around.

THE FRISCO KID (1979)- Avram-  This has always been one of my favorite Gene Wilder roles and movies.  Wilder plays a rabbi on an adventure in the wild west in this unlikely charmer by director Robert Aldrich.  Co-starring Harrison Ford.

STIR CRAZY (1980) – Skip Donahue – Wilder’s second pairing with Richard Pryor might be their funniest.  Directed by Sidney Poitier.

HANKY PANKY (1982) – Michael Jordon – Wilder co-stars with future wife Gilda Radner in this box office disaster originally written to feature both Wilder and Richard Pryor again.  Once more directed by Sidney Poitier.  Wilder considered this to be one of his worst movies.

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Gilda Radner and Gene Wilder

THE WOMAN IN RED (1984) – Teddy Pierce – Another one of my favorites.  Wilder becomes obsessed with a beautiful woman in red played by Kelly LeBrock in this amiable romantic comedy.  Co-starring Charles Grodin and Gilda Radner.  Wilder directed and co-wrote this remake of a French movie, which might be his best directorial effort.

HAUNTED HONEYMOON (1986) – Larry Abbot-  Wilder once more directs himself and wife Gilda Radner, in what would be both his final directorial effort and last movie that he and Radner made together.  Not surprisingly, this unfunny film bombed at the box office.

SEE NO EVIL, HEAR NO EVIL (1989) – Dave Lyons-  Wilder’s third pairing with Richard Pryor, directed by Arthur Hiller, who also directed Wilder’s/Pryor’s first pairing, SILVER STREAK.  Early film role for Kevin Spacey.

ANOTHER YOU (1991)- George/Abe Fielding – Wilder’s fourth and final movie with Richard Pryor.  This was also Wilder’s final theatrical release.  He would make four more movies, all of them made for TV.

Okay, there you have it, a partial list of the movies starring Gene Wilder.

Gene Wilder – June 11, 1933 – August 29, 2016

Thanks for reading everybody, and I’ll see you again next time for another MOVIE LISTS column where we’ll look at more odds and ends from the movies.

—Michael