Dan and Kailey talk about Bond #24 – Spectre – and Hunger Games #4 – Mockingjay Part 2 – plus the usual mix of box office stats and other news from the world of moving pictures. Includes the usual search engine pleasing Game of Thrones reference.
Review: St. Vincent, Deepsea Challenge 3D, Interstellar, The Hunger Games: Mockingjay - Part 1 and Nightcrawler
In the last (non-Rancho) post I made a commitment to get back in to regular reviewing and to end my year-long sabbatical. (For the reasons behind the hiatus, it is recommended that you have a quick read. Go on, I’ll wait here.) It has come as a bit of a surprise to me that I’ve actually seen as much as I have over the last few months. It didn’t feel like it but — thanks to Radio New Zealand, FishHead and Rancho Notorious — fully 18 of the films currently screening around Wellington are films I can actually have an opinion on.
Anyway, here goes, and I might as well start with the oldest first. Which, as it turns out, is also a contender for the worst film in this post.
I’ve never managed to hide my disdain for Little Miss Sunshine, a film which is beloved by many and held up as an example of quality screenwriting to which we all should aspire. It is, in fact, garbage. A collection of tics masquerading as characters stuck in a contrived-cute situation in which life lessons will be learned too easily and happy endings will be unearned. Theodore Melfi’s debut feature St. Vincent also falls into all these traps only deeper. It also relies so heavily on the great Bill Murray that it manages to even bring him into disrepute.
The first thing you need to know about It’s Complicated is that it isn’t very complicated at all. The plot, the characters, the gags (dear God, especially the gags) are all perfectly comprehensible – even to those of us with only modest intellectual faculties. Rest assured, at no point will anyone be talking over your head in this one.
Nancy Meyer’s previous film was The Holiday, which easily remains in the bottom ten of the 1200+ films I have reviewed in these pages, so It’s Complicated earns a single point for not being that bad, but that’s where I run out of positives.
Meryl Streep plays Jane, successful baker and businesswoman, who has a drunken one-night-stand with her rogue-ish ex-husband, played by Alec Baldwin. He thinks that they should try again. She isn’t so sure – mainly because he is now married to the woman he left her for ten years earlier and she really doesn’t want to be the “other woman” to the “other woman”.
In 2003 the paper-thin romantic comedy How to Lose a Guy in 10 Days paired Matthew McConaughey with Kate Hudson and made over 100 million dollars. The rules of Hollywood economics, plus the overwhelming dictates of focus groups and researchers, meant they would have to be reunited. So, as soon as Hudson’s baby-body was fit to be seen in a tiny bikini, they were off to the Bahamas to make Fool’s Gold, a buried treasure adventure set among the rich and beautiful.
McConaughey plays “Finn” Finnegan, a treasure hunter, and Hudson his soon-to-be ex-wife. She’s divorcing him because she’s a tight-ass and wants to finish her PhD. He is hopelessly in debt to hip-hop superstar Bigg Bunny who has been funding his search for lost Spanish gold. When he discovers a dinner plate sized clue he suckers Hudson and super yacht owner Donald Sutherland into joining the search, despite the violent attentions of Mr Bunny and competition from dodgy accented Ray Winstone.
Matthew McConaughey isn’t the laziest of our male Hollywood stars (Nic Cage takes that prize) but he has coasted for an enormous amount of time on what some might see as charm alone. Fool’s Gold doesn’t change that approach and your enjoyment will depend entirely on how much you appreciate McConaughey’s charisma as there isn’t much else to enjoy. Despite the Caribbean setting all the black characters are either villains or buffoons or both, Bigg Bunny (Kevin Hart) alone manages to supply two objectionable stereotypes at once. I hope that isn’t the result of a Hollywood focus group.
Walk Hard: The Dewey Cox Story tells a heart-rending, and repairing, story of tragedy and redemption in the music business. Inspired by classy bio-pics like Walk the Line and Ray (and even La Vie En Rose, probably), Walk Hard stars perennial sidekick John C. Reilly as the eponymous Dewey, dumber than a sack of hammers but with a heart of lead, as he overcomes the tragic death of his brother in a machete accident (“the wrong kid died”, says his stone-faced father at every opportunity), the loss of his sense of smell and addiction to every substance on the planet short of cinnamon.
Films like Walk Hard are always hit and miss affairs and this one runs about 50–50. The targets are pretty soft, however, and I’d hoped that a writing team that includes Judd (Knocked Up) Apatow might have aimed a little higher. The best things in the film are the songs, well sung by the talented Reilly: my favourite is the 60s pro-midget protest song “Let Me Hold You, Little Man”.
It’s very hard to focus on a film when you spend most of it shaking your head in disbelief. Air Guitar Nation is a documentary following the first two American contenders in the well-established World Air Guitar Championship in Finland. The Yanks may have invented Rock but they have come second to the Air Guitar party, struggling with the more high-level concepts (“You can’t hold a gun, if you’ve got an air guitar in your hand”) and the serious intent of the Northern Europeans. But they do have old-fashioned showmanship on their side. Diverting.
Printed in Wellington’s Capital Times on Wednesday 13 February, 2008.
Is it really only a year since the last Pirates of the Caribbean film (Dead Man’s Chest) ended so abruptly after three hours that it felt almost personally insulting? Apparently. Now the team are back to try and complete the long drawn out story and provide some level of satisfaction for those of us who wanted a little more than huge, episodic, set-pieces that go nowhere.
To the credit of writers Elliott and Rosso and director Verbinski, At World’s End does a fair job of wrapping up the meandering story and the final hour is as thrilling as any in recent cinema – its just a shame it’s taken eight hours of endless double-crossing to get there.