GOOD BOYS (2019) – R-Rated Tween Comedy Surprisingly Sincere and Nonstop Funny

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Brady Noon, Jacob Tremblay, and Keith L. Williams in GOOD BOYS (2019).

GOOD BOYS (2019) is one of those movies where you’ll find yourself laughing at things you know you have no business laughing at.

That’s because it’s an R-rated comedy about tweens, three boys who are about to enter 6th grade. Its story features raunchy language, drugs, and sex, among other things, but the fundamental reason GOOD BOYS works so well is its screenplay by Lee Eisenberg and Gene Stupnitsky is incredibly sincere and sensitive.

The tweens act like tweens, and that’s part of the comedy. When the three boys inadvertantly find themselves in possession of illegal drugs, they don’t break open the container and get high. They scream about the dangers of drugs and try to get rid of the stuff. When they discover a bunch of sex toys, they have no idea what they are and use them for all sorts of different things. When they discover a sex doll, they think it’s a CPR doll.

The writing is sharp and on the mark, the laughs fast and furious.

The story in a nutshell involves three tween boys, Max (Jacob Tremblay), Lucas (Keith L. Williams) and Thor (Brady Noon) who are best friends and call themselves  “The Bean Bag Boys.” When they get invivited to the cool kid’s party, they are overjoyed until they learn that it is a “kissing” party, and as much as they want to kiss the girls there, they have no idea how to kiss.

And so they decide to find out. One complication leads to another, and before they know it, they are in some serious sh*t.

Depending on how judgmental you are about movies, you may or may not like GOOD BOYS. If the idea of having 6th graders involved in comedic adult situations turns you off, you probably won’t enjoy this one.

I liked this one because it’s genuine and remains true to its characters. The boys here never act like adults. They act exactly the way 6th graders act, and when placed in these outrageous comedic situations the combination of their innocence with the zany proceedings results in constant hilarity.

One thing working against GOOD BOYS, which is no fault of the movie, is that the film’s trailers gave away an awful lot. While there are still funny scenes not shown in the trailers, most of the film’s funniest bits I had seen already.

Even so, the laughs really never stop. Director Gene Stupnitsky keeps this one funny from start to finish.

The tween cast is terrific. Jacob Tremblay, a talented young actor who has already made his mark in such notable films as ROOM (2015) and WONDER (2017) where he played Auggie, plays Max here. Of the three boys, Max is the most interested in the kissing party because he wants to kiss Brixleee (Millie Davis) his first real crush, and who he says he may marry one day. Incidentally, Millie Davis also starred alongside Tremblay in WONDER.

This plot point opens the door for a subplot towards the end of the movie where the boys realize they are changing. For example, of the three, Max is the most mature and the first to be interested in girls, and these changes put a strain on their friendship. It also allows the tweens to talk about respecting women, and they are constantly talking about seeking the girl’s consent before kissing. It may not sound like much, but the climactic kissing scene near the end is even more moving when Max approaches Brixlee and before kssing her asks, “Can I kiss you?” and she says, “Yes.”

Keith L. Williams plays Lucas, and his storyline introduces divorce to the story, as his parents are separating. The scenes with his parents are both hilarious and sad, which is no easy feat, but this movie pulls it off with ease.

And Brady Noon plays Thor, who is the recipient of the most bullying and peer pressure of the three, so much so that even though he loves to sing, he drops out of the school musical. Noon’s performance as a boy who likes to sing rises above the traditional cliche.

Later, when he’s dared to break the beer drinking record, it’s not about the number of beers one drinks. It’s about the number of sips. The record is three sips, by the way.

Molly Gordon and Midori Francis are fun as the two older teens who “go to war” against the boys after they discover the boys spying on them with a drone. The chase scene where the girls pursue the bike-riding boys both in their car and on foot is a highlight. As is the sequence where they send the boys inside a college frat house to buy drugs. Some of the loudest laughs of the entire movie came when the boys gave the frat boys their comeuppance.

And I saw this one in a crowded theater, and the laughs were frequent and loud.

Molly Gordon has been busy lately, as she also starred in supporting roles in BOOKSMART (2019) and LIFE OF THE PARTY (2018). She was notable in both.

Isaac Wang  shows some presence as Soren, the tiny cool kid who hosts the kissing party.

And comedian Lil Rel Howery has some comical moments as Lucas’ Dad. Howery recently showed up in a couple of high quality horror movies, BIRD BOX (2018) and GET OUT (2017).

Nearly all the jokes work. But one of the sequences that didn’t work as well was the scene where the boys had to cross a busy highway. It reminded me an awful lot of a similar scene in a comedy from some years back, BOWFINGER (1999) starring Steve Martin and Eddie Murphy. Too derivative for me.

But all in all, GOOD BOYS is nonstop funny and entertaining. And for a comedy, you can’t ask for much more than that.

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FAST AND FURIOUS PRESENTS: HOBBS & SHAW (2019) – Amiable Action Comedy Fast and— Fluffy.

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In the interest of full disclosure, I have never seen a FAST AND FURIOUS movie.

Until now, that is.

Way back when the first THE FAST AND THE FURIOUS (2001) came out I just wasn’t that interested, but then they kept coming, and word of mouth and critical reviews said they were getting better and better. But still I resisted, mostly because I hadn’t seen the previous films, but I’m guessing at some point I’ll sit down and eventually start watching these.

Anyway, after eight FAST AND FURIOUS movies, here comes the series’ first “spinoff,” FAST AND FURIOUS PRESENTS: HOBBS & SHAW, a tale featuring characters who appeared in prior movies but who weren’t part of the main core of the cast. I mainly wanted to check this one out because I like the three principal leads, Dwayne Johnson, Jason Statham, and Idris Elba. My expectations were low, but I figured, it might be fun to watch some mindless action scenes featuring these generally entertaining actors.

And I was right.  The action and the dialogue is all very fast, though not so furious. A more apt title for this one would be fast and funny, because really, from beginning to end, this one is played for laughs. I didn’t take any of it seriously, and that was okay.

The plot involves a deadly virus that could wipe out the population of the world, just like that! Yikes!  A former spy (Vanessa Kirby) steals the virus, and a super-charged baddie named Brixton (Idris Elba) will stop at nothing to steal it back. Good guy Hobbs (Dwayne Johnson) is charged with saving the day, and he’s paired with former villain turned hero Shaw (Jason Statham) because the former spy who stole the virus happens to be Shaw’s sister.

Trouble is, Hobbs and Shaw hate each other and refuse to work together, but work together they do, which sets the stage for plenty of banter and one-upmanship throughout.

If you like Dwayne Johnson and Jason Statham, you’ll enjoy this movie because the two actors are likable throughout and do share a fun chemistry together.  Their banter while not hilarious is certainly comical and amusing. There’s a good-natured amiable vibe all through the movie, even though its plot is about a potentially catastrophic virus, and that’s because the film is about as believable as a wrestling match.

Director David Leitch fills this one with exciting action scenes and chases, especially one near the end involving a helicopter and a bunch of cars. Again, fun, but not believable, which for me, pretty much kept this one from being anything special. Technically, it looks great, but it’s all fluff. Leitch also directed DEADPOOL 2 (2018). Speaking of which, Ryan Reynolds is also in the cast, and he gets to ham it up in a couple of scenes. These bits are okay but not overly funny.

The screenplay by Chris Morgan and Drew Pearce has fun with its Hobbs and Shaw banter but that’s about it. Morgan has written a bunch of other FAST AND FURIOUS movies, and Pearce wrote HOTEL ARTEMIS (2018) which I enjoyed a lot.

While Dwayne Johnson and Jason Statham don’t disappoint, Idris Elba doesn’t fare as well. Elba doesn’t get a whole lot of screen time, and his villain in spite of his superpower enhancements is pretty one-dimensional. Elba deserves better.

Vanessa Kirby is very good as Shaw’s sister Hattie, a kick-ass character who can hold her own against the likes of Hobbs and Shaw, although she’s clearly a secondary character here, unfortunately.

As I said, Ryan Reynolds shows up for a couple of scenes, as do Kevin Hart and Helen Mirren. None of these folks make much of an impact.

I liked HOBBS & SHAW well enough, but it’s all fluff, and other than its agreeable leads and well-choreographed action sequences, there’s not a whole lot going on. I’m a story guy, and this one’s story is pretty sparse, which for me, kept this one from being anything special.

It’s not riveting, there’s no edge of your seat excitement, and there’s no intrigue. Instead, there’s playful banter and sanitized action sequences that are mostly played for laughs.

Fast, yes. Furious, not so much.

—END—

ONCE UPON A TIME— IN HOLLYWOOD (2019) – Tarantino’s 9th Film Enters Fairy Tale Territory

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At first glance,  ONCE UPON A TIME— IN HOLLYWOOD (2019), the ninth film by Quentin Tarantino, seems to be an exercise in style over substance.

It takes place in Hollywood in 1969, and Tarantino masterfully captures the look, feel, and very essence of the time, with impeccable costumes, set design, and a killer soundtrack. Watching this movie, I really felt as if I had been transported via time machine back to 1969. The experience was that authentic.

Tarantino also gets top-notch performances from everyone involved, especially his two leads, Leonardo DiCaprio and Brad Pitt, and Margot Robbie.

The style, the filmmaking expertise, it’s all there.

But the substance? The story?

That’s harder to find because ONCE UPON A TIME— IN HOLLYWOOD takes its sweet time, and for most of its two-hour and forty-one minute running time, it’s not in a hurry to get anywhere, and so it tells its multiple stories with as much urgency as two guys sitting inside a saloon drinking whiskey. In short, it’s not going anywhere anytime soon.

And yet it’s told with an affection that clearly shows this time period and these characters and their stories were a labor of love by Tarantino. And it’s all light and funny, in spite of the fact that it’s built around one of the darkest chapters in Hollywood history, the brutal murder of a pregnant Sharon Tate and her friends by Charles Manson’s insane minions. There is a strong sense of dread throughout the movie, knowing what’s to come, and then— well, then Tarantino decides to have some fun at our expense.

ONCE UPON A TIME— IN HOLLYWOOD is mostly the story of two men, actor Rick Dalton (Leonardo DiCaprio) and his stuntman and best friend Cliff Booth (Brad Pitt).  Dalton is somewhat of a “has-been,” as his last major starring role in a western TV series was from a decade earlier. Now, he’s reduced to playing the villains on 1960s TV shows like MANNIX and THE FBI.

This is clearly wearing on Dalton and is one of the prevalent themes in the movie, of how quickly success can pass one by, and how artists of a certain age need to work harder and be open to reinventing themselves if they want to remain relevant. There’s a lot of truth to this part of the movie. As we age, we have to make adjustments. One of the ways Dalton eventually reinvents himself is by going to Italy to make “spaghetti westerns,” and so it’s easy to see here how Dalton’s story is inspired by the real life story of Clint Eastwood, who did the same thing in the 1960s.

Stuntman Cliff Booth’s best days are also behind him, but he’s taking it much better than Dalton, because, as he says, he was never a star to begin with and so as far as he is concerned he’s still living the dream. He enjoys being Dalton’s “gofer,” driving the actor wherever he needs to go, being a handyman around Dalton’s home, and just hanging out.

Dalton, who lives in a Hollywood mansion, is miserable, while Cliff, who lives in a trailer behind a drive-in movie theater, is happy, but this doesn’t stop the two men from being best friends. They truly like each other and care for each other, and the dynamic between DiCaprio and Pitt in these roles is a highlight of the movie.

And while Dalton and Cliff Booth are fictional characters, their famous neighbors, Roman Polanski and Sharon Tate, are not. They are real, and tragically, Sharon Tate’s life was cut short on August 9, 1969 by the insane groupies of Charles Manson.

So, ONCE UPON A TIME— IN HOLLYWOOD also tells the parallel story of Sharon Tate, and the film really allows its audience to get to know Tate as a person.

These parallel stories move forward until that fateful night in August 1969, and in spite of the comedic elements of this movie, there is a sense of dread throughout, that builds as the film reaches its conclusion, a conclusion that suddenly introduces a major plot twist allowing the film to keep its light tone. I have to admit, for me, this was a head scratcher.

As a result, I’m not so sure ONCE UPON A TIME— IN HOLLYWOOD works as a whole, but it does have a lot of little parts that work very well.

The best part by far are the two performances by Leonardo DiCaprio and Brad Pitt. They work really well together, but this isn’t a buddy movie, and so they’re just as good if not better in scenes where they are not together. Some of DiCaprio’s best scenes are when Rick Dalton is acting as the villain in a 60s TV western, trying to prove that he still has what it takes. DiCaprio also enjoys a couple of outstanding scenes with a child actor played by Julia Butters who at one point tells him sincerely that his performance with her was some of the best acting she had ever seen.

Pitt’s Cliff Booth is the livelier of the two characters and the one who is larger than life. Cliff, as we learn later, lives in a veil of infamous secrecy as rumor has it that he killed his wife and got away with it. Cliff also enjoys a fun scene in which he tangles with Bruce Lee, one of the more memorable sequences in the movie. 

Cliff is also one of the connections to the Manson family, as he befriends a young woman Pussycat (Margaret Qualley) who’s part of the Manson clan. And a quick shout-out to Margaret Qualley who steals the few scenes she is in with one of the most energetic performances in the movie. She’s terrific.

The scene where Cliff drives Pussycat back to the ranch where the Manson family resides is a perfect microcosm for the entire movie. Cliff brings Pussycat to the ranch, a place he worked at years earlier. Concerned that this group of hippies may be taking advantage of the ranch’s elderly owner, George Spahn (Bruce Dern), Cliff wants to make sure the man is all right.

In an extremely long and meandering sequence, a lot like the entire movie, Cliff gradually makes his way through the various members of the clan, learning where George is supposed to be “napping.” He eventually makes his way to George’s room, and in a scene where you fully expect George to be dead, it turns out he is only napping, and what follows is a highly comedic banter between Brad Pitt and Bruce Dern, which is the route the film ultimately takes.

Which brings us to Sharon Tate. As I said, Margot Robbie is excellent in the role. On the surface, Robbie makes less of an impact than DiCaprio and Pitt because she has far less screen time than they do, but underneath the comedy and the drama Tate’s quiet spirit drives things along, and Robbie’s performance makes this happen.

Unfortunately, people can be defined by their deaths, especially if they were murdered. Tarantino seems to be pushing back against this notion with Sharon Tate. In ONCE UPON A TIME— IN HOLLYWOOD, Tarantino lovingly crafts Sharon Tate as a real person and not just as a footnote to the Manson murders. The film paints a portrait of Tate as a beautiful person, and really allows that persona to sink into its audience. I liked this. A lot. However, I would have liked it even more had Margot Robbie been given more screen time as Tate. She largely plays second fiddle to main characters Rick Dalton and Cliff Booth.

The entire cast is wonderful. I’ve already mentioned Bruce Dern and Margaret Qualley, but the film also has key contributions from Kurt Russell and Timothy Olyphant.  Also present are Dakota Fanning and Al Pacino, and look fast for Maya Hawke who is currently starring in Season 3 of Netflix’ STRANGER THINGS.

So, you have this meandering movie, which looks terrific and features powerhouse performances by lots of talented actors, with a fairly funny script, although the dialogue is somewhat subdued from the usual Quentin Tarantino fare, and it’s taking its sweet time, taking its audience for a pleasant ride with the knowledge that tragedy awaits. All of this, I didn’t mind and mostly enjoyed.

But it’s the ending of ONCE UPON A TIME— IN HOLLYWOOD that I find most problematic and is the part of the movie that is the least effective. To avoid spoilers, I will not get into details, but what happens here is the film enters into the realm of alternate reality, and once it does that, well, all that came before must now be looked at with a different lens, and a new question arises, which is, why did we just watch all this? 

In other words, for me, one of the reasons the movie had worked so well up until the ending was it was a piece of historical fiction. Fictional characters were appearing in a real setting (1969 Hollywood) with a canvas of real events in the background. Once these events are changed, the film enters the world of fantasy, of historical reimagining, and once this is done, I don’t think the film possesses the same impact.

In short, to turn this tragic story into a comedy, even with the best intentions, is something I’m not sure entirely works.

At times, ONCE UPON A TIME— IN HOLLYWOOD seems to be a love letter to Sharon Tate. I liked this part.

At other times, most in fact, it’s a take-no- prisoners shoot-em-up dramedy about an aging movie/TV star and his laid back infallible stunt man. I liked this part, too.

But the last part, the punch line, seems to be Quentin Tarantino’s desire to do what he did to the Nazis in INGLOURIOUS BASTERDS (2009) to Charles Manson and his “family.” It’s this last part that, while good for some laughs, seems the most out-of-place.  While there are hints in the film that this is where this story is going to go, it still feels jarring to watch the events unfold, events that change history, and thrust the movie head first into fairy tale territory, appropriate I guess for a movie entitled ONCE UPON A TIME— IN HOLLYWOOD.

—END—

 

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STUBER (2019) – Likable Leads Lift Uneven Comedic Ride

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I tend to like “buddy movies,” that comedic genre which takes two unlike personalities and thrusts them together in comical situations where they often have to put aside their differences to work together, which is why I believe I enjoyed STUBER (2019) more than I should have, because when all is said and done, STUBER is just an okay movie.

It relies heavily on the talents of its two leads, Dave Bautista and Kumail Nanjiani, who try their best to rise above the material, and for the most part, they do.

STUBER opens with police detective Vic Manning (Dave Bautista) and his partner Sara (Karen Gillan) chasing a deadly drug dealer Oka (Iko Uwais) which leads to a shoot-out in which Sara is killed. Months later, Vic undergoes laser surgery to correct his vision since during the chase which cost his partner her life, he had lost his eyeglasses in the scuffle and was unable to take the decisive shot which might have saved Sara’s life.

After the surgery, his doctor advises him not to drive or do anything else strenuous because his full vision will not be restored for several hours. But just before he’s to take an Uber ride to his daughter’s art show, he receives a tip on the whereabouts of Oka, and so when he gets inside the car, he commandeers the driver, Stu (Kumail Nanjiani) to take him to his new destination.

Stu is a mild-mannered Uber driver who when he’s not driving is stuck in a nothing day job while trying to get his best friend Becca (Betty Gilpin) to notice him romantically. He is not built for police work, but before he can protest, he’s suddenly dragged into the middle of a drug war between Vic and Oka. Let the comedy ensue!

What?

That doesn’t sound funny? I agree. Which is one of the biggest knocks against STUBER. Its story is not all that funny.  Watching Vic bully Stu around for most of the movie didn’t naturally instill laughter.

The screenplay by Tripper Clancy does its best by giving its two stars plenty of one-liners, especially Nanjiani, and a lot of these work, but still, the film is far from uproarious. For one thing, the plot definitely gets in the way. It struggles to be credible. I never really bought that Vic would go that rogue, that he’d trust an Uber driver to help him rather than call for police back-up. This is sort of addressed later when the revelation is made that there is a mole on the force on Oka’s payroll, but Vic doesn’t learn this till the end of the movie.

Likewise, the plot device of having Vic temporarily blinded from laser surgery, which is there only to set up his need for an Uber driver, didn’t work for me either. If his eyes were that bad without his glasses, it didn’t make sense to me that he’d be a police detective. I also found it hard to believe that as a detective who wore glasses he never ran into this issue before.

I did laugh during STUBER, mostly because of the two leads. Dave Bautista, the former wrestler, who I first noticed in THE MAN WITH THE IRON FISTS (2012) and who has gone on to make a lot of movies, including the GUARDIANS OF THE GALAXY and AVENGERS movies where he plays the popular character Drax, possesses an easy-going and light style which makes him a natural in front of the camera. In short, he’s got charisma.

His portrayal of Vic is a bit darker and rougher than some of his previous performances but he still keeps his signature amiable style in tact.

Kumail Nanjiani probably gets the best lines in the movie, and Nanjiani is more than up to the task. Whether he’s having a heart to heart with a male stripper, holding a dangerous drug dealer at gunpoint, or exchanging barbs with Bautista, Nanjiani is consistently likable and funny. That being said, I enjoyed Nanjiani’s previous film, THE BIG SICK (2017) much better than this movie.

And the two actors really do have some memorable exchanges, like when Stu asks Vic if he’s ever taken a bullet for someone, and Vic deadpans “you think there’s time after someone has pulled a trigger to actually jump in front of a bullet? There’s no slow motion in the real world.” And later when Stu complains that he’s being repressed by a white guy, Vic reminds him, “I’m not white.”

Some of the physical comedy is also pretty funny, but sadly the story is not. Director Michael Dowse definitely emphasizes the action elements here over the comedic, and as a result the film is rather violent. I wish more effort had been made to make this one more humorous. That would have made it a better movie. I mean, as action movies go, it’s rather lame.

Bautista and Nanjiani don’t get a lot of help from their supporting cast, which isn’t really the actors’ faults, since there really aren’t any other meaty roles in the film. Natalie Morales does stand out, however, in a small role as Vic’s daughter Nicole. In her limited screen time, she’s very good.

Mira Sorvino plays Vic’s superior officer Angie in a thankless role that had this been a better written movie would have had more relevance. Betty Gilpin is given even less to do as Stu’s love interest Becca. And Iko Uwais makes no impact whatsoever as bad guy Oka. That’s one big blaring weakness in this film, in that it doesn’t have much of a villain to speak of.

On the other hand, Karen Gillan, who like Bautista, is also in the GUARDIANS OF THE GALAXY and AVENGERS movies, as Thanos’ daughter Nebula, is very good here as Vic’s partner Sara, but she’s killed off in the opening moments of the movie.

STUBER has its moments, and it benefits from its two likable leads, Dave Bautista and Kumail Ninjiani, but taken as a whole it’s a flawed comedy that spends too much time on its crime elements and not enough on its comedic parts, which results in a mixed bag of a movie.

If you enjoy buddy comedies, you’ll find this one amusing, but if you’re looking for a brilliant laugh-out loud comedy, you should look for another Uber ride.

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THE DEAD DON’T DIE (2019) – Understated Satire Just Happens to Have Zombies In It

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Some day, perhaps, THE DEAD DON’T DIE (2019) might be remembered as a masterpiece of understated humor and satire.

Alas, today is not that day.

THE DEAD DON’T DIE is a new horror comedy starring Bill Murray and Adam Driver that is being marketed as a zombie comedy, but you know what? It’s not really a zombie movie. Oh, there are zombies in it, but it’s the most non-zombie zombie movie I’ve ever seen, which is not going to make it a hit among horror fans.

In fact I’d wager to guess that most horror fans will not like this movie. Even though it mentions George Romero and throws in a few Easter eggs here and there, it largely ignores the zombie films which have come before it. Sometimes this can be a good thing, but in this case it is not.

Heck, since its comedy really isn’t all that biting— heh, heh!— comedy fans aren’t going to be too keen on this one either. Yup, I’m going to go out on a—limb— and predict that this one will not perform all that well at the box office.

That being said, THE DEAD DON’T DIE is not an awful film. I actually liked it, in a weird offbeat sort of way, and that’s because at the end of the day THE DEAD DON’T DIE is satire, that just happens to have zombies in it. It’s the type of comedy that Bob Newhart would have made in his heyday, with Murray filling in here for the Newhart role. It has a few pointed things to say about our present day society, but the writing is never as sharp, and the direction never as tight as a movie like this needs it to be. Even when the film breaks the fourth wall, the humor still struggles. Yet, there are places where it works and works well.

In THE DEAD DON’T DIE, Police Chief Cliff Robertson (Bill Murray) and his fellow officers Ronnie Peterson (Adam Driver) and Mindy Morrison (Chloe Sevigny) usually have nothing more urgent to do in their small town of Centerville than ask their local Hermit Bob (Tom Waits) whether or not he stole chickens from the annoying farmer Frank Miller (Steve Buscemi). But suddenly things grow strange.

The daylight lasts longer than usual, watches and cell phones stop working, and soon the dead start to rise and begin eating the townspeople. The culprit? The controversial use of global fracking has affected the earth’s rotation, and as a result all these freaky things start happening. Supposedly. The people aren’t sure, because the government cites global fracking as safe and accuses scientists of spreading false information. Sound familiar?

How Robertson and his fellow officers react to these horrific happenings is the story told in THE DEAD DON’T DIE. Trouble is, the biggest way they react is by standing around and doing nothing. So much for compelling storytelling!

THE DEAD DON’T DIE was written and directed by Jim Jarmusch, a director known for his deadpan style. Jarmusch is tenacious here with his slow-moving satire, which might be the film’s greatest asset, that it never deviates from its slow pace, its unassuming humor, and its coy messages on society.

The satire in THE DEAD DON’T DIE is there. It’s just not always all that clear. For instance, Steve Buscemi’s Farmer Frank wears a red cap which reads “Keep America White Again,” a slogan which in itself satirizes the modern-day message of the Trump presidency as well as poking fun at the overall intelligence of his followers with its grammatically incorrect slogan. It appears ever so briefly and is easily missed. Yet it got a good chuckle from the audience.

Speaking of which, I saw THE DEAD DON’T DIE in a full theater in which the majority in the audience were college-aged folks. It was a lively audience that was laughing and having fun even before the movie started. And they were generous with their laughter throughout the movie, laughing much more than I did.

As mentioned, the film breaks the fourth wall on more than one occasion, sequences where Murray and Driver discuss the theme song and even the script. But it’s not the type of lively screenplay that is filled with playful asides a la the works of Woody Allen or Mel Brooks. In fact, there is very little that is lively about the entire movie. There’s about as much energy surrounding this flick as a heavy-duty afternoon nap.

There are also some fun little in-jokes, like Adam Driver carrying a STAR WARS key chain, a direct nod to his role in the new STAR WARS trilogy.

A lot of the humor doesn’t work. The running gag about the theme song wasn’t funny at the beginning and it’s even less funny by the end.

There’s a GREAT GATSBY gaffe that I’m still not sure I understand. A character mentions she loves the name Zelda because of Zelda Fitzgerald, who she says was Jay Gatsby’s wife in THE GREAT GATSBY, but Gatsby wasn’t married, and his love interest in the novel was Daisy Buchanan. Zelda Fitzgerald was the wife of Gatsby author F. Scott Fitzgerald. It’s possible I’m missing something here, but since what I’m missing isn’t obvious, such a gaffe just comes off as lazy writing.

Speaking of lazy, there’s a heck of a lot of inaction going on here. Characters stand around and talk, and talk, and talk. There’s one sequence after the first zombie kill in the diner when Chief Robertson discovers the bodies, that features as its gag people saying the same lines when they see the bodies for this first time. Admittedly, this is funny, but it takes place during a sequence where we have to watch each character drive up to the diner, casually take their time entering and exiting before saying the aforementioned line. S-l-o-w.

There are a lot of satirical moments poking fun at today’s society, and most of these work, although they are exceedingly understated.

The horror elements are also downplayed here, and while there are some gory sequences, this one doesn’t really hold its own as a horror movie. There are also scenes of dialogue where the characters in a panic go on about the zombie epidemic, and they go on at lengths which aren’t supported by events in the movie. There’s basically one zombie scene before the film’s third and final act.

There’s also an annoying way the zombie’s die, as when they are killed they give off a puff of smoke. What is this, TWILIGHT?

THE DEAD DON’T DIE does have a terrific cast, which is one of its strengths, and they all play quirky characters.

Bill Murray is fine as Chief Robertson. He certainly has been funnier in his career, but he handles the deadpan humor well, again channeling a Bob Newhart vibe. There’s also an in-joke when his character breaks the fourth wall and asks Adam Driver if they are simply improvising here, since Murray began his career with improv, and is known to have improvised in some of his movies. Then again, maybe it simply means that Murray and Driver weren’t working with a script!

Adam Driver also nails the deadpan humor as Officer Peterson. I increasingly enjoy Driver in the movies, and while his biggest role to date has been the conflicted villain Kylo Ren in the new STAR WARS trilogy, I’ve enjoyed him more in such films as BLACKKKLANSMAN (2018) and LOGAN LUCKY (2017). He was probably my favorite part of THE DEAD DON’T DIE, and he certainly got the most laughs, but he also didn’t have to try very hard. The audience laughed when he showed up at a crime scene driving a miniscule car.

Chloe Sevigny is very good as Officer Morrison, and Tilda Swinton has the most unusual role as local mortician Zelda Winston, who’s an eccentric character whose idiosyncracies sometimes generate laughter and other times misfire. She’s the one character in the film who is a badass zombie killer, which provide Swinton with her best moments in the movie.

Steve Buscemi is on hand as the irritable farmer Frank, and he has a couple of comic moments, but for a guy like Buscemi, that’s less than you expect. The cast also includes Danny Glover, Selena Gomez, Caleb Landry Jones, and Tom Waits as Hermit Bob.

Hermit Bob’s line at the end of the film that we live in a crazy world kinda sums up the point of the film, that this world is a crazy place, and that zombies rising from the dead isn’t any nuttier than things we are already seeing.

As I said, one day this film may be remembered as a classic satire. But today, alas, due to its incredibly slow and lethargic pace and less than sharp writing, it’s going down in my book as a well-intentioned look at the crazy world in which we live that lacked the necessary energy and oomph to successfully make its case.

It also doesn’t help itself in that it’s not much of a zombie movie, a fact that most likely will keep its potential fan base away from the theater.

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BOOKSMART (2019) – Raunchy Teen Comedy Has Its Moments

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BOOKSMART (2019), the new R-rated teen comedy by first-time director Olivia Wilde, has a lot of things going for it: a fun premise, sharp comedic and oftentimes poignant writing, a talented cast, and energetic direction.

But what it doesn’t have is a strong sense of realism. While I enjoyed most of BOOKSMART, I can’t say that I believed in much of it, which is too bad because parts of this movie have a lot to say.

With BOOKSMART, director Olivia Wilde takes the coming of age stories found in films like EIGHTH GRADE (2018) and THE EDGE OF SEVENTEEN (2016) and turns them into a raunchy R-rated comedy. The good news is the film never deteriorates into mindless vulgarity, but the bad news is it never reaches the level of truth and sensitivity found in the aforementioned movies either.

In BOOKSMART, high school seniors Amy (Kaitlyn Dever) and Molly (Beanie Feldstein) on the eve of graduation realize that their classmates who goofed around through high school still got into the colleges of their choice, and so they decide if their classmates can do both, that is party and still get into top colleges, then they can as well, and so they decide to party hearty for one big night just to say they did before they graduated high school.

The film follows their attempts to find the huge class party (since they weren’t invited) which leads to one mishap after another since they’re not very good at this sort of thing, but they’re determined, and do eventually make it to the party to end all parties where they hope to finally engage in the relationships they only thought about during their four years of high school.

BOOKSMART is lively and energetic from start to finish. At times, the girls’ mishaps on their quest to find the elusive party reminded me of the situations in the HANGOVER movies, although nothing here reaches the level of insane comedy found in that series, although this film certainly tries. Director Olivia Wilde lets everything fly, even including a hilarious scene featuring Amy and Molly as animated figures.

The screenplay by Susanna Fogel, Emily Halpern, Sarah Haskins, and Katie Silberman is very funny. The best part about the humor is it takes the usual drug and sex jokes and keeps them honest and prevents them from being cliché. Indeed, the humor works best when the situations are honest. For example, one of the funniest sequences involves Amy’s long-awaited and first sexual encounter with another girl.

The party scenes are also a cut above the usual mindless shenanigans of drunk teens. But not all the humor works, as some of the situations like when the girls try to hijack a pizza delivery driver to get the address of the party, simply aren’t taken far enough to be truly funny. Still, there are a decent number of laugh out loud moments.

BOOKSMART is a female driven movie to be sure, with its woman director, four women screenwriters, and predominantly female cast. As such, this film has a lot to say about young women and their relationships. Probably the deepest part of the story is Amy’s dealings with her sexuality. The discussions regarding gender and sexual preferences are spot on. The problem is the film doesn’t go there enough. These topics take a back seat to the raunchy comedic parts of the story.

The bigger culprit though is the believability factor. The bottom line here is most of the students in this film simply didn’t seem all that real to me. Sure, the story takes place in California, and the characters here are all from an affluent west coast neighborhood, but they certainly didn’t seem like they were living in the real world. And at the end of the day, this lack of realism works against the movie and what it’s trying to say about the life of high school students, especially female high school students, in 2019.

The cast was excellent. Both Kaitlyn Dever and Beanie Feldstein stand out in the lead roles as Amy and Molly. These two did seem like real people, and I enjoyed watching this story about the two of them and their lifelong friendship. Dever has already had some notable roles in films like DETROIT (2017), THE FRONT RUNNER (2018), and BEAUTIFUL BOY (2018). Her role here only adds to her impressive resume.

Beanie Feldstein impressed in LADY BIRD (2017), playing lead character Lady Bird’s best friend Julie.

Other notable performances in the young cast include Victoria Ruesga as Ryan, Mason Gooding as Nick, Skyler Gisondo as Jared, Diana Silvers as Hope, Molly Gordon as Triple A, Eduardo Franco as Theo, Austin Crute as Alan, and Noah Galvin as George. All these actors have key moments in the movie, and they’re all very good.

The cast also includes veteran actors Will Forte and Lisa Kudrow, as well as Jason Sudeikis as the school principal.

While BOOKSMART is certainly funny, it never reaches the level of all-out hilarity it needed to be really memorable. Likewise, while its script and story do possess moments of sensitivity and insight into the teenage condition in 2019, these moments are sporadic at best. And while the dialogue is realistic and raw, unfiltered to a fault, the situations the two leads find themselves in are more often ludicrous than real. As such, while I had fun with BOOKSMART, I can’t say I believed most of it, which works against the stronger thematic elements of this comedy.

I liked BOOKSMART, but had it been a tad smarter, I would have loved it.

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ISN’T IT ROMANTIC (2019) – Rom Com Spoof Short on Laughs

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Isn’t it romantic?

Sure is.

But is it funny? Er, not so much.

And therein lies the problem with ISN’T IT ROMANTIC (2019), the new rom com starring Rebel Wilson as an architect disillusioned with love, who after a bonk on the head wakes up and finds herself living inside the world of a romantic comedy. While the gimmick here is that Wilson’s character has to deal with the very world she’s spent her life making fun of, the problem is the film is funnier when it takes place in the real world because it’s more fun watching Wilson taking potshots at reality than soaking up life in a romantic fantasy.

While architect Natalie (Rebel Wilson) is down on love, she actually has a pretty happy life. She’s got a good job, a best friend at work, Whitney (Betty Gilpin), as well as a best guy friend at work Josh (Adam Devine) who tries but fails to catch her attention. So, while she slams both true love and romantic comedy movies, her life is a good one. She doesn’t really need a romantic fantasy to save her, which definitely gets in the way of the film’s major plot point.

After the clonk on the head, she awakes and finds herself living in a movie world, specifically the rom com. The handsome hunk she met briefly at a meeting, who was a complete jerk, Blake (Liam Hemsworth), now falls madly in love with Natalie. At this point, the film goes through all the rom com clichés with Natalie commenting on them throughout, since she knows these films inside and out. And it’s in this fantasy world that she finally sees the light about Josh and realizes that perhaps it’s with him that her future lies.

ISN’T IT ROMANTIC is an amiable enough movie but it’s simply not all that funny. Again, the funniest bits are when Natalie is in the real world, at the beginning and end of the film. The main part of the film, where the story employs its gimmick of Natalie living inside a movie, is playful and light, but the laughs simply aren’t there.

There’s plenty of romance to be sure, but it’s the kind that’s superficial without resonance.

Rebel Wilson is a fun actress to watch, going all the way back to her role in BRIDESMAIDS (2011), and she’s certainly enjoyable here, even if the material isn’t all that sharp.

Liam Hemsworth chews up the scenery as handsome hunk Blake, and it’s clear that he’s having a good time throughout. Betty Gilpin is very good as Natalie’s best friend Whitney, but her best scenes also occur when the film takes place in the real world. In the fantasy sequence, Whitney becomes Natalie’s rival, a trope of the rom com, but sadly, it’s a trope that isn’t funny here.

Adam Devine is enjoyable to watch as Josh, the likable co-worker who has eyes for Natalie. Interestingly, his character remains the same in both the real and fantasy worlds.

Priyanka Chopra impresses as Isabella, a beautiful model who Josh saves from choking and then marries during the rom com scenes. Like Hemsworth, it’s clear that Chopra is having fun throughout.

Probably my favorite performance in the movie belongs to Brandon Scott Jones who plays Donny, Natalie’s irritable neighbor who in the rom com sequence becomes the stereotypical flamboyantly gay best friend. It’s the liveliest performance in the film.

Screenwriters Erin Cardillo, Dana Fox, and Katie Silberman’s main premise of Natalie entering the world of a rom com movie is okay, but it would have worked better had Natalie needed it more. Sure, her friends tell her she needs love, but she seems perfectly content without it. And the jokes just aren’t all that funny.

Some of the jokes do work however, like the running gag of Natalie not being able to swear since she’s living inside the world of a PG-13 romantic comedy. Likewise, the sequence where she’s trying to have sex with Blake, but the film keeps cutting away since again it’s rated PG-13 is good for some laughs. But there aren’t a whole lot of these moments.

Director Todd Strauss-Schulson keeps things bright, happy, and romantic, but since this is supposed to be a rom com that pokes fun at the genre it’s disappointing that the humor isn’t all that sharp. The liveliest sequence in the movie is the closing dance number, a bit late in the game.

ISN’T IT ROMANTIC is a likable enough movie, but it falls way short of being the kind of send-up to the genre which it purports itself to be. Which means, at the end of the day, ISN’T IT ROMANTIC really isn’t anything more than just another cliche-ridden rom com, even if it surrounds those clichés with lots of knowing winks and nods.

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Books by Michael Arruda:

New in 2019! DARK CORNERS, Michael Arruda’s second short story collection, contains ten tales of horror, six reprints and four stories original to this collection.

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Waiting for you in Dark Corners are tales of vampires, monsters, werewolves, demonic circus animals, and eternal darkness. Be prepared to be both frightened and entertained. You never know what you will find lurking in dark corners.

Ebook: $3.99. Available at http://www.crossroadspress.com and at Amazon.com.  Print on demand version available at https://www.amazon.com/dp/1949914437.

TIME FRAME,  science fiction novel by Michael Arruda.  

How far would you go to save your family? Would you change the course of time? That’s the decision facing Adam Cabral in this mind-bending science fiction adventure by Michael Arruda.

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

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

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Michael Arruda reviews horror movies throughout history, from the silent classics of the 1920s, Universal horror from the 1930s-40s, Hammer Films of the 1950s-70s, all the way through the instant classics of today. If you like to read about horror movies, this is the book for you!

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

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

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Print cover

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Ebook cover

 

Michael Arruda’s first short story collection, featuring a wraparound story which links all the tales together, asks the question: can you have a relationship when your partner is surrounded by the supernatural? If you thought normal relationships were difficult, wait to you read about what the folks in these stories have to deal with. For the love of horror!

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