Popcorn Kernels: Q4 Review Purge

In which, while I'm still gearing up to begin reviewing current films in earnest, I release mini-reviews of some 2017 releases that aren't quite recent enough to meet my cutoff for getting the full review treatment, but still deserve a nod.

Lady Bird

Year: 2017
Director: Greta Gerwig
Cast: Saoirse Ronan, Laurie Metcalf, Timothée Chalamet
Run Time: 1 hour 34 minutes
MPAA Rating: R

In her senior year of high school, Lady Bird navigates her prickly relationship with her mother and a series of friendships and relationships as she comes of age and gets ready for college.

Given the Oscar buzz surrounding Lady Bird and the fact that it was being described as the female iteration of Boyhood, I was worried that the film would leave me a bit cold. Well, I'm here to report that I needn't have worried. Lady Bird is a frickin' delightful warm breeze of a film. It's especially relatable to me, because there's a large portion of the film dedicated to putting on a musical theater performance, something I dedicated a good 85% of my high school life too, but this film is genetically engineered to be relatable to as many people as humanly possible.

The central relationship of the film is between Lady Bird and her mother (played by Saoirse Ronan and Laurie Metcalf respectively), an effortlessly sharp evocation of the sharp edges and mercurial bonds between mothers and daughters, but every aspect of a teenager's developing friendships and loves is explored with a fine-toothed comb. Obviously nothing can beat Metcalf and Ronan (Metcalf especially delivers up a healthy platter of emotionally-laced barbs that cut to the bone), but every relationship in the film is a well-observed, matter-of-fact marvel, preserving in amber the vast spectrum of feelings that make up one's youth.

Like Boyhood, Lady Bird presents its story as more of a series of vignettes than an actual structured plot, but unlike Boyhood, it's damn funny while it's at it. I bark-laughed more than once in the theater, and the warm joviality of the film's tone makes it so that the dark moments are even more powerful, cast in sharp relief against the genial humor.

I'd say Greta Gerwig the writer is much more on the ball here than Greta Gerwig the director, who is content to bathe her terrific ensemble in desaturated, flatly presented frames, but that writing is whip-smart, capturing the lived-in reality of its setting and characters as if they've always existed, just waiting to be brought to life by her hand. Presumably on a vintage typewriter, because this is still Greta Gerwig we're talking about.

Rating: 8/10

Ingrid Goes West

Year: 2017
Director: Matt Spicer
Cast: Aubrey Plaza, Elizabeth Olsen, O'Shea Jackson Jr.
Run Time: 1 hour 38 minutes
MPAA Rating: R

Ingrid is an ex-mental patient who becomes obsessed with an Instagram lifestyle blogger, moving to Venice Beach to Single White Female her and ingratiate herself into her circle of friends.

If I didn't already have the CW show Crazy Ex-Girlfriend in my life, I'd think Ingrid Goes West was the work of a mad genius. And perhaps that's not fair to Ingrid, but that show handles how mental illness and obsession collide with the cold modern world in a way that wrings tears from me like a sopping wet rag. This movie doesn't quite reach that point, but what it does succeeds in its own, entirely unique way.

Taking the common inclination for Instagram stalking and ramping that up to its logical conclusion, Ingrid Goes West turns the psychologically dubious underbelly of social media into a twisted tale of terror. But as much as Ingrid's scheming is frightening and depressing, the fact that everything she does is instantly and completely relatable adds a startling layer of familiarity that is grotesquely juxtaposed with what could only be called a psychological thriller. It's a satirical indictment of the closed-off emotional world that social media creates, and it cuts deep.

Oh, and did I mention it's a comedy? It's not frequently laugh-out-loud hilarious, but Elizabeth Olsen is perfectly cast as the ne plus ultra of the perfectly primped Instagram hottie who lives her life out in a series of hashtags, misquoted authors, and superlatives. Then there's O'Shea Jackson Jr. (in only his second onscreen role), who breathes life into every scene he's in with an easygoing charm that allows you to forget that his character has literally one dimension and that dimension is that he loves Batman, which is maybe the most thoroughly boring character trait I could possibly imagine.

And Aubrey Plaza reaches emotional depths here that I never imagined her capable of, converting her usual deadpan personality from a sardonic sidekick role to a hollow shell for a totally empty personality. It's a shocking, sublime performance that interacts with the film's themes of identity formation and loneliness in a satisfying and visceral way. Sure, it's far from perfect, with a series of decisions in the third act that don't make a ton of sense or push the plot forward much - if at all - but as a showcase for these performers and the deeply felt central character arc, it's a tremendously satisfying bit of business.

Rating: 8/10

Coco

Year: 2017
Director: Lee Unkrich, Adrian Molina
Cast: Anthony Gonzalez, Gael García Bernal, Benjamin Bratt
Run Time: 1 hour 45 minutes
MPAA Rating: PG

On Día de Los Muertos, a young guitarist named Miguel rebels against his family, which has banned music for generations. He becomes trapped in the world of the dead, on a quest for a long-lost musician relative who can release him and approve of his love of music.

A lot of people have been saying Coco is a step down for Pixar, and they might not be totally wrong. The plot is entirely predictable from twenty minutes in, and it pulls much more from the Disney animated musical tradition than films like Up or Wall-E. But if you approach it as a Disney musical, then... Well, it's pretty superb.

Never forget for one minute that The Book of Life did more or less the same thing several years ago, a fact that I'm upset few people seem to have pointed out, but it's impossible to complain about getting multiple films based around the design and folklore of Día de los Muertos. And a mainstream American movie being so steeped in Mexican culture is almost unheard of. From the inclusion of a beautiful rendition of the folk song "La Llorona," to the appearances from many famous Mexican historical figures (including an extended cameo from Frida Kahlo, playing a hilariously exaggerated version of her personality that lovingly pokes fun at her favorite tropes and designs), Coco thoroughly pays homage to a non-American sphere, to the tune of becoming the highest grossing film in Mexican history.

But social issues aside, it's just a fun film to be around. It might not linger in the memory as long as Finding Nemo or even the short film Piper, but it's an emotional roller coaster with original songs that are much better than I would have expected from Pixar's decidedly un-musical crew (the most boring one, an inevitably Oscar-nominated musical theater standard called "Remember Me" that hits on the film's theme with the subtlety of  a jackhammer, was of course written by the Disney duo behind Frozen, and all the great ones that actually channel a distinct musical tradition were by co-director Adrian Molina and Germaine Franco - who also worked on The Book of Life, so she knows what she's doing).

Its depictions of the land of the dead are also pretty dang beautiful, an unnatural barrage of colors and lights and skeletal character designs that are enough to earn back the goodwill that the 22-minute short film Olaf's Frozen Adventure worked hard to obliterate. It's a tremendously satisfying film in its own right, even if its not totally unique or perfect. I'll be listening to the soundtrack for months to come, even if I don't feel the need to see the film again for a while.

Rating: 8/10

The Mountain Between Us

Year: 2017
Director: Hany Abu-Assad
Cast: Kate Winslet, Idris Elba, Beau Bridges
Run Time: 1 hour 52 minutes
MPAA Rating: PG-13

When their charter plane crashes in the mountains, two strangers must fight for survival and just maaaaybe fall in love while they're doing it.

There's maybe nothing better than a soapy romance movie if you just want to have a good time in the theater, and The Mountain Between Us has all the ingredients of being a perfect good-bad romantic thriller. Who wouldn't want to watch a movie you could describe as "Alive meets An Affair to Remember"?

Unfortunately, once again the vengeful gods of boilerplate cinema have struck. Mountain is hovering somewhere exactly between good-bad and mediocre, which is the most boring place to be. It just doesn't commit to being much of anything. Whenever the movie threatens to briefly become The Revenant, every problem from a slip down a mountainside to nearly drowning in a frozen lake is solved in less screen time than it takes for Kate Winslet to take a pee.

So what we're stuck with is a low-stakes survival thriller welded to a hideously contrived erotic romance. The script makes such an effort to paint Idris and Kate's clashing as a Brain vs. Heart conflict, it forgets to give them any character traits whatsoever, other than Winslet's fake American accent, the strained vowel sounds of which are the scariest thing in the movie.

But then the movie has the gall to very clearly end, then prattle on for a good fifteen more minutes, scraping up a thin gruel of drama from a pot that has long since been drained. There's nothing worse than a boring movie that overstays its welcome, and therefore I refuse to celebrate The Mountain Between Us as the second coming of B-movies, no matter how many mind-boggling unmotivated close-ups I get of Kate Winslet's watery eyes.

Rating: 4/10
Word Count: 1189

Trouble In Paradise

Year: 2016

Director: Jake Szymanski

Cast: Zac Efron, Adam Devine, Anna Kendrick

Run Time: 1 hour 38 minutes

MPAA Rating: R

Zac Efron is killing it this year. He’s starred in no fewer than three R-Rated comedies in 2016 (four, if The Disaster Artist is ever set free from the James Franco vault), and with heartthrobs like him, quantity is always more important than quality. Which is great news, because the only semi-decent movie he’s been in all year is Neighbors 2. Mike and Dave Need Wedding Dates isn’t as flagrantly despicable as Dirty Grandpa, but there’s no universe where I’d call it a “good” movie.

I mean, come on! He only takes his shirt off ONCE!

Mike and Dave Need Wedding Dates takes place in a world where the phrase “wedding date” is used in casual conversation waaaaaay more frequently than our own. Mike (Adam Devine) and Dave Stangle (Zac Efron) are brothers who love themselves a good debauch. When their parents (Stephen Root and Stephanie Faracy) force them to bring dates to their sister Jeanie’s (Sugar Lyn Beard) Hawaii wedding in order to curtail their antics, they put out a Craigslist ad looking for nice girls to bring so they don’t ruin the wedding. The ad goes viral (this part actually happened in real life) and they end up on Wendy Williams, where they catch the eye of local girls-about-town Tatiana (Aubrey Plaza) and Alice (Anna Kendrick).

The hard-drinking duo fake being respectable so they can econ their way into an all-expenses-paid Hawaii vacation. Antics ensue and they’re at least a little less racist and homophobic than Dirty Grandpa.

So there’s that.

Obviously, that’s a high bar for offensiveness, so Mike and Dave still has plenty of room to muck about in frivolous bigotry and general stereotyping. I will say this: The stereotypes they use here are some deep cuts, so your average moviegoer won’t’ have as much of a problem with them as I do, but that doesn’t make them any less ill-advised. We get a predatory lesbian, a black side character who only acts as a hype man for the white people’s antics, a genuinely baffling cross-dressing sequence that would have been stale in the 90’s, and Kumail Nanjiani’s first truly bothersome Indian role. But they do depict an interracial wedding and restrict themselves to only one joke about it, so they get a gold star for that, I guess.

Honestly, I’d be able to overlook these patches of cliché crassness if there was anything else in the movie to latch onto. The comedy is a relaxing, genial sort that keeps you comfortably above the boredom line without actually reaching for any big laughs. While it’s certainly diverting, it’s far from memorable. It’s not bad, it just immediately slips from your mind like a fistful of sardines.

The comedy here does what every establishing shot shows: coasts. All four of the leads here are charismatic young stars and that counts for a lot, but they lean heavily on their established personas to do all the work here. Devine is the sputtering, half-improvised jackass. Efron chugs along with his surprisingly sharp comic timing and his baby doll eyes that never seem to focus on anything. His mouth and body move, but his eyes just stare vacantly into the middle distance like he’s having an apocalyptic premonition. It’s kind of frightening. And then of course there’s Plaza with her sardonic bravado. Only Kendrick is creating any sort of character here, but the role is a meek little dishrag that doesn’t bring anything particularly interesting to the table.

It’s like if you put a chipmunk’s brain in a human body.

Mike and Dave Need Wedding Dates is just too easygoing. It lets its performers noodle around while the spinning plates of the plot fall to the floor one by one and shatter into a million pieces, using exhausted clichés to rush through an ill-thought-out scenario (of course Zac Efron dreams of being a graphic novel artist). The central conceit (bad girls faking being good girls) loses gas long before the midpoint, sputtering and stalling after about two and a half scenes (in fact, this slippery conceit is eerily similar to Efron’s earlier easily-distracted opus That Awkward Moment). If Charles Lindbergh had tried to fly across the Atlantic using Mike and Dave, he would have crashed in the New York Harbor.* And then the final 20 minutes pretend we’ve been watching an actual story the whole time and drown us in a deluge of unearned character development.

Oh, and did I mention this film indulges in some of the most frustrating trends of modern comedy? We get some of that alarmingly violent slapstick that non-Paul Feigs love to dole out on Melissa McCarthy. Then there’s a lovely selection of half-hearted post-Hangover gross-out body humor. Oh, and then there’s a dash of sitcom setups just for bland flavor (they don’t realizes their microphones are on! What a pickle!). And the film’s occasional feints toward absurdism wither make less than no sense or completely dismantle a character (The script never does manage to establish whether Dave is a drooling idiot or the vastly more intelligent straight man for his brother’s antics. Maybe it’s both, come to think of it.) Like I said, it’s enjoyable enough, but it’s just so unambitious.

So, all in all, Mike an Dave Need Wedding Dates isn’t, like, a deplorable waste of your time. Just a milquetoast one. And it’s still the second best Efron comedy of the year, so if you loved Dirty Grandpa, have at it. You have my blessing, though I mostly feel like cursing that I spent money on this.

*This has nothing to do with Mike and Dave Need Wedding Dates, but it’s far more interesting. I was doing a spot of research on Lindbergh, and a glance at the list of his children led me through a mind-boggling array of discoveries. After fathering six children by his wife, it was discovered on his deathbed that he had seven more children spread between three secret families. Two of his secret European brides were SISTERS. He didn’t cross the Atlantic to break records, he just wanted to get some. It’s like an American Pie prequel up in here.

TL;DR: Mike and Dave Need Wedding Dates is mildly amusing, so it's never a chore, but it fails entirely to impress.

Rating: 5/10

Word Count: 1067

It Ain't A Lemon Party Without Old Dick

Year: 2016

Director: Dan Mazer

Cast: Robert De Niro, Zac Efron, Zoey Deutch

Run Time: 1 hour 42 minutes

MPAA Rating: R

Would you believe me if I said that Bad Grandpa is the best comedy film I’ve seen in years?

No, neither would I. Aside from the fact that my yearly rewatching of Airplane! would inevitably preclude such a claim, Dirty Grandpa is a swollen hernia poking from the torso of Hollywood. And I’m saying this as a person who actually watched this movie on purpose. It’s perhaps the most January-ish January comedy ever released, lazy and charmless in all the wrong ways. But let’s not beat around the greying bush, let’s dive on into this sucker!

The things I do for you people.

In Dirty Grandpa, Jason (Zac Efron) is a Stepford grandson. He lives a yuppie fantasy, working at his dad’s law firm, wearing sweater vests, and preparing his wedding with the blonde-haired, blue-eyed, Meredith (Julianne Hough) a controlling shrew so ludicrously unpleasant that she passive aggressives Jason into picking his rehearsal dinner tie color during his grandmother's funeral. When Jason agrees to drive his bereaved grandfather, Dick (Robert De Niro) to Florida for a couple days, the old man reveals that he’s hot to foxtrot and hijacks the trip, taking Jason to Dayton Beach for some raucous carousing with filthy co-ed Linor (Aubrey Plaza) and her friend Shadia (Zoey Deutch), Jason’s high school classmate with whom he has an instant rapport. 

Oh, they also have a gay friend who’s about as reductive a stereotype as poor Meredith (though without being actively sociopathic), but he’s also black so De Niro can have a two for one deal on offensive material that screenwriters think old people can get away with. They get to Daytona, De Niro makes approximately one kiloton of vulgar jokes that are only intermittently recognizable as humor, and then more plot attempts to happen at the very end.

Help, I’ve fallen and I can’t get it up!

The thing about Dirty Grandpa is that it so obviously adheres to the male bonding sex comedy formula that it literally doesn’t even need to go through the motions. You can so intimately understand where the plot is going from the very first scene that it almost feels like you’ve watched an entire film even when it only skims through the story at its broadest points. Much in the same way that Julianne Hough’s shrieking beast of a character exists solely to make the boring, kind of deluded Shadia seem desirable in comparison, the plot falls back on lazy comedy movie stereotypes so it seems like it actually exists.

So with the plot comfortably out of the way, Dirty Grandpa frees itself up to crap all over Robert De Niro’s legacy. Hell, it craps all over Zac Efron's legacy. The High School Musical trilogy doesn’t deserve this. How does Dirty Grandpa’s humor suck? Let me count the ways…

1) Are you a minority? Screw you.

Mind you, Dirty Grandpa’s “old people are racist and homophobic and ableist and make rape jokes apparently” shtick is less prevalent than some of its illustrious peers, but when it crops up, it’s all the more painful for its halfhearted commitment to its abrasiveness. They seem to think that they can render gags that are both insanely offense and stale acceptable by having a character point out just how offensive they are. Nice try, Dirty Grandpa, but you can’t cover your ass. It’s swaying gently in the wind, exposed to the elements. Speaking of, this kicks in at about the 20-minute mark, at which point the twelve people in my theater are reduced to six.

2) “Sandra Bullock in Gravity” gags

Certain one-liners just drift through the void of the film, haphazardly colliding into scenes at the most inopportune times. My current working theory is that the original draft underwent a heavy rewrite, but the script editor forgot to delete certain lines, leaving them jammed into the middle of scenes like rocks diverting a stream. That’s the only possible explanation for the mind-boggling preponderance of non sequiturs that crash into the middle of otherwise unassuming scenes.

3) Grandpa is a felon

In the middle of his wacky erotic rampage across the Florida coast, nobody seems to notice that Grandpa Dick is a straight-up psychopath. When an old man assaults a guy with an improvised beer cannon that inverts his nose, that’s not the time to sigh and go, “Oh, Pop-Pop.” That dude belongs in freaking jail for that and many other violet criminal acts that are treated like the mayhem caused by a toddler. There is more or less a pile of steaming bodies in this guy’s wake.

4) They break the laws of physics to force jokes to work.

There’s a scene that requires a stuffed animal that is manifestly present on the ground to not be there, so it vanishes without a trace. There’s a scene that forgot it could have been set up an hour ago, so a hacker on a moped materializes from thin air to bridge the gap. Almost every scene has a square joke being rammed into a round hole, because nobody realized that, if they took the time to sand the edges, it would actually fit the way it was supposed to.

5) There’s a grandpa rapping scene.

Yes, this is that kind of movie.

The dream of the 90’s is alive and well.

Not only is the humor scraped off the bottom of a crusty plunger, it’s not even presented well. The editing hops, skips, and jumps around dialogue actively destroying punchlines by cutting around lines and arbitrarily inserting over-the-shoulder shots in a manner so conspicuous that I suspect no cast member could actually complete a take without breaking down into heaving sobs and cursing their agent’s name, forcing the scene to be cobbled together in ADR. The editing has the rhythm of a drunk woodpecker and it totally obliterates most of the film’s potential.

But do you want to know the absolute worst thing about Dirty Grandpa? It has some damn hilarious scenes, Mind you, there’s as widely scattered as M&M’s in cheap trail mix, but they’re there. These moments are almost exclusively provided by Adam Pally as Jason’s indecorous cousin and Jason Mantzoukas as the friendly neighborhood drug dealer. My sense of moral integrity wants to believe that their lines were entirely improvised, but I’ll be fair and give credit to the screenwriter for allowing these two characters their moment in the sun. Frequently, their scenes are actively gut-busting and quotable, which makes the film even more disappointing because here’s actually a reason to endure the cinematic napalm that forms the remainder of its runtime.

The one other savior of Dirty Grandpa is Aubrey Plaza, who is delightful for about 75 percent of the time. When she’s forced to flirt with De Niro, her discomfort is palpable, especially taking into consideration the film’s weird aversion to actually depicting sexuality despite its rampant vulgarity (as far as I can recall, there’s not a single topless woman in the movie, and the film’s only scene of the sex act is between two people who are more or less fully clothed and evidently plan on using their own underwear as contraception.) 

Well, there you have it. Even Dirty Grandpa doesn’t want to watch Dirty Grandpa. So why should you?

TL;DR: Dirty Grandpa is a lazy, wheezing waste of your time.
Rating: 3/10
Word Count: 1246

Stocking Stuffers

With Christmas and New Years approaching with their promises of Yuletide slasher mayhem and 2013 roundup lists, it's getting hard to focus on the other reviewing responsibilities I have. Especially the films I didn't have any particular love for.

You see, 2013 was a year filled with mildly promising female-led indie comedies, two of which I watched recently and found mildly enjoyable. That doesn't quite earn them a thousand word review of their very own so I'm gonna slam these two together in one post.

Check them out in between mad dashes to stores for Christmas shopping! You have 14 days, if you need to order something online, do it now!

Year: 2013

Director: Maggie Carey

Cast: Aubrey Plaza, Johnny Simmons, Bill Hader

Run Time: 1 hour 44 minutes

MPAA Rating: R

What could be funnier than a high school sex comedy set in Boise, Idaho in 1993 and cast with TV actors who are by all appearances a decade out of high school? A lot of things, but against all odds The To Do List is actually pretty good.

Brandy Klark (Aubrey Plaza) is a virginal valedictorian who, in the summer after graduation, decides to  learn as much as she can about sex before she heads off to college. With the help of her friends Fiona (Arrested Development's Alia Shawkat) and Wendy (Sarah Steele), she puts together a list of sex acts that she intends to complete during the ensuing months.

As she navigates boys, men, her summer job as a lifeguard at the community pool, and pursuing her studly coworker Rusty (Scott Porter) while avoiding the affections of her nerdy friend Cameron (Johnny Simmons), Brandy learns about love and sex and whatever. It's all very teen movie but at least the love triangle goes somewhere unexpected.

Sex is pretty much always funny no matter how terrible the joke is, so the film has that going for it as well as some stellar 90's gags about skorts, Beaches, and grunge bands (featuring a spot on cameo by Andy Samberg). There are several truly hilarious moments and a great honest message about the nature of teen sexuality by the time we reach the end.

However, a lot of the film's time is spent on the alarmingly numerous side characters in an attempt to squeeze in cameos by Clark Gregg (SHIELD's Agent Phil Coulson) as the obligatory sex-hating father stock character, the lovely Connie Britton (of American Horror Story Season One and Nashville) as Brandy's sex positive nurse mother, Bill Hader (SNL) as a slacker lifeguard, Jack McBrayer (30 Rock's Kenneth Parcel) as a rival pool owner, Rachel Bilson (The OC) as Brandy's older sister, Adam Pally (Happy Endings) as her triflin' fiancé, Christopher Mintz-Plasse (Kick-Ass and Pitch Perfect) as Cameron's best friend, and Donald Glover (Community) as the world's least essential character. He just sort of exists sometimes.

That paragraph is just as bloated as the film, but the pleasant comedy manages to overcome the cameo overdose through sheer amusingness and 90's nostalgia. It's nothing to write home about, but it's a good way to kill 90 minutes while on a plane or avoiding studying for finals.

Rating: 7/10

Girl Most Likely

Year: 2013

Director: Shari Springer Berman, Robert Pulcini

Cast: Kristen Wiig, Darren Criss, Annette Bening

Run Time: 1 hour 43 minutes

MPAA Rating: PG-13

The two directors would probably explain the abrupt tonal shifts Girl Most Likely suffers through, but that doesn't alter the fact that they're there.

Imogene (Kristen Wiig) is a struggling playwright who fakes a suicide to get her ex-boyfriend to come visit her. He does not and Imogene is forced by the hospital to live with her gambling-addicted mother (Annette Bening) with whom she has been estranged for some time. 

Also living with them are her developmentally stunted brother Ralph (Christopher Fitzgerald in a role very probably written for Zach Galifianakis) who owns a crab stand on the boardwalk, her mother's new boyfriend George Bousch (Matt Dillon), a sketchy man who claims to both be a CIA agent and a samurai, and Lee (Darren Criss), a handsome boarder who is renting her old room.

She is living in a blanket fort in the living room and if that doesn't spell "indie comedy" to you, I suggest you watch a couple more of the things. It's all very lowest common denominator indie fare and it's peppered with Wiig's usual schtick, but luckily Wiig's schtick is one of the best around so it livens up what could have been a terminally bland affair.

Unfortunately she has to work extra hard to keep up the audience goodwill with a character who is selfish and makes a shocking variety of terrible decisions (an especially notable is one near the end where she seemingly contemplates abandoning her entire family and leaving them to die).

Although the film doesn't cover any ground that Bridesmaids hadn't already - and better - standout scenes like Imogene stealing a book from the library and the totally out of left field final ten minutes are funny enough to justify the film's existence, but not much more than that.

Rating: 6/10

Word Count: 858