Archive for the Comedy Category

The Good Dinosaur

Posted in Adventure, Animation, Comedy, Family, Fantasy, Uncategorized on November 25, 2015 by Mark Hobin

 photo good_dinosaur_ver3_zpsykoytrdq.jpg photo starrating-4stars.jpgIt would be easy to dismiss The Good Dinosaur‘s simple narrative as minor Pixar. The tale’s themes touch upon the importance of family and finding your place in this world. These lessons have certainly been done before. But delve deeper and what the studio has done here is no less magical that some of their very best. In many ways, the blend of ideas is one of their most subversive. To begin with, it relies on less dialogue than virtually all of their productions. They explored this abstraction in the first half of Wall-E then abandoned it in the second. A cursory look at production stills show a little boy and his dinosaur, a seemingly clichéd set-up that suggests that the dinosaur is a substitute for the boy’s proverbial dog. Leave it to Pixar to flip the script.

The saga begins with a vignette that might not even register if you’ve managed to avoid press materials for this picture. An asteroid flies overhead. Dinosaurs look up. Go back to eating. What the visual tableau is hypothesizing without words is, what if the theoretical asteroid that was supposed to hit earth rendering dinosaurs extinct, never did. How would they evolve, and even more intriguingly, how would they interact with humans? The answer is one of Pixar’s most radical concepts. Naturally the dinosaurs talk. Animals do that in animated films all the time.  But Pixar takes the conceit one step further. They’re now highly evolved creatures, developing a sophisticated ecosystem. They grow crops, store grain in a silo and raise what appears to be dino-chickens in a coop.

Pixar has designed a fully realized world that pushes graphic technology to the next level. The plot concerns an Apatosaurus family. There’s Poppa Henry (Jeffrey Wright) and Momma Ida (Frances McDormand) who witness the birth of their three children at the outset: Libby (Maleah Padilla), Buck (Marcus Scribner) and runt of the litter, Arlo (Raymond Ochoa). Though the main character is cute and cartoonish, the environment created is not. To say this is the studio’s most visually impressive movie, is an accomplishment that should not be taken lightly or negated. Some of these awe-inspiring landscapes are photo realistic achievements that dazzle the eye. This isn’t a film, it’s an experience. You can get lost in the mood, particularly during the wordless spectacles. After a not so spectacular intro, something tragic happens (Pixar is known for this) and young Arlo is separated from his family. He meets a caveboy named Spot (Jack Bright). Spot is an unexpected individual full of facial expressions and body language. His dirty mangled hair, fair skin, slightly red from the sun and piercing green eyes embody a mesmerizing soul that captivates with tangible cues. In one episode he forages for food and offers some to Arlo. The moment manages to be funny, gross and tender in mere moments. The charm slowly sneaks up on you. I fell in love with this kid.

The Good Dinosaur is a deceptively slight narrative that belies a philosophical exploration of humanity. Is it about a spirit journey? Is it a coming-of-age movie? Is it a western? Pay attention, because there is a lot being covered. Much of the drama evolves like seeds that grow in the mind well after the film is over. It stays with you. Let’s start with the notion that fear is something you learn to live with, not conquer. That’s pretty “out of the box” thinking for a children’s story. Oh but there’s so much more. On the surface, you might not even realize what’s being promoted here because it’s never expressly stated. The evolutionary relationship between Arlo and Spot is a completely subversive idea that caught me quite by surprise. Pixar has drawn inspiration from classics of the past. The close alliance between two species has been explored before. There are many examples but perhaps never done better than in something like The Black Stallion. The Good Dinosaur ranks up there in tender sophistication. When Arlo and Spot “discuss” their families, the communication is a pantomime where sticks are used. Their interaction presents a harsh reality in such a refreshingly simple way, it’s profound. The scene is heartbreaking. I’ll admit I teared up. Ok Pixar, you win again.


The Peanuts Movie

Posted in Adventure, Animation, Comedy, Family with tags on November 9, 2015 by Mark Hobin

The Peanuts Movie photo starrating-3stars.jpgThe Peanuts characters have been animated before, but never quite like this. Charles Schultz’ creations debuted as a comic strip way back in 1950 and ran for 50 years until 2000. It continued on in reruns. During those years Peanuts expanded on its success with television specials. A Charlie Brown Christmas and It’s the Great Pumpkin, Charlie Brown are so iconic, they’re still run today. In addition 4 feature films were released between 1969 and 1980. Each relied on traditional hand-drawn techniques. The comics were pitched at adults but the cartoons had a childlike mentality with a nod to adults who might be watching as well. That’s likewise the sensibility of The Peanuts Movie.

The animation comes courtesy of Blue Sky Studios, the CGI team behind those barely tolerable Ice Age flicks. The artists have done a beautiful job at portraying the gang in this medium. The characters look exactly like you’d expect if they were magically made whole and became 3D designs. There’s a visual depth to these renderings. For example Frieda’s naturally curly red hair and Pig Pen’s dust cloud are so vivid you see distinct strands and dirt particles. It’s the originals you know, only to the second power. Director Steve Martino has had experience turning illustrations into cinematic sagas. He helmed Horton Hears a Who! in 2008. Charles Schulz’s son Craig, his grandson Bryan Schulz and Cornelius Uliano, co-write the screenplay.

Honoring a 2D property and modernizing it as a computer animated feature, in 3D no less, is a difficult balancing act. This nostalgia connects people across generational lines. Peanuts have seemingly been around forever so virtually everyone has at least some connection to these kids. Mess with the memory, you mess with our childhood. Despite the visually modern update, the account is a slavishly faithful manifestation of previous incarnations. That’s good news and bad. The positive is the story doesn’t taint the dignity of Charles Schultz’ beloved work. These are the same cherished icons dealing with identical conundrums. Now the dilemma.

The Peanuts Movie is amiable, but if you’re looking for creativity or imagination, you’re watching the wrong movie. The plot is merely a compendium of replicated gags. Charlie Brown develops a crush on the Little Red-Haired Girl who moves in next door. He wants to make a good first impression. Meanwhile Ace pilot Snoopy writes a novel where he faces his arch nemesis, the Red Baron. He’s supported by Woodstock. The rest of the gang says and does things you remember from past iterations. Lucy dispenses psychiatric advice. Schroeder plays the piano. Marcie calls Peppermint Patty “sir”. Sally pines for her sweet baboo, Linus, who clutches a security blanket, and so forth. They go ice skating and play hockey. There’s a talent show and a dance. Its warm nostalgia and it’s pleasant. The nicest thing I can say is that it honors the source. Yet there’s nothing here you haven’t seen before. Peanuts is a “greatest hits” of recycled vignettes. Its gentle pabulum is guaranteed not to upset the status quo. I was hoping for more.


The Visit

Posted in Comedy, Horror with tags on September 15, 2015 by Mark Hobin

The Visit photo starrating-2stars.jpgThe good news is that The Visit is M. Night Shyamalan’s best film in a decade. The bad news is that it’s still nothing to write home about. The perennial letdown hasn’t directed anything satisfying since 2002’s Signs. As of this writing, that was 13 years ago and with each passing year, the possibility of another gem like The Sixth Sense becomes less and less likely. However The Visit warrants some praise. He’s working with a much lower budget this time around, so the expectation for an “event” movie is gone. This is a much more restrained affair. Additionally, the lighthearted drama frequently veers away from standard horror into outright comedy. The two characteristics are enough to lift this out of the execrable muck from which his work usually descends. However, that still doesn’t mean it’s enjoyable.

Becca (Olivia DeJonge) and Tyler (Ed Oxenbould) are two annoyingly precocious teenagers who board a train alone. [Random aside: Oxenbould is the reincarnation of young 80s actor Joshua John Miller (River’s Edge, Near Dark)] Tyler is an enthusiastic rapper. It’s not clear whether this suburban white boy’s rhyming skills are supposed to be humorous or endearing. Grating is a word that comes to mind. Anyway, the two kids are on their way to meeting their grandparents for the very first time. That’s right, they’ve never met. Mom (Kathryn Hahn) had a falling out with her parents 15 years prior and so Nana (Deanna Dunagan) and Pop Pop (Peter McRobbie) have been estranged from the family for all this time.

Here’s where things go from adequate to unbearable. Becca is an aspiring filmmaker and wants to capture her visit for posterity. The movie we’re watching is her shaky cam footage of everything she views. Her brother Tyler is also given a camera so more than one point of view shot can be rationalized . Naturally M. Night Shyamalan is actually the one responsible for this approach. We get these headache inducing shots that switch back and forth between the two camcorders in an effort to record everything. Even when a device is dropped on the ground, it still conveniently captures the important action. This cinematographic style adds no value to the account other than to create a nuisance. It’s shtick and it doesn’t serve the story.

The Visit has a decent foundation. Kids stay with grandparents that are complete strangers to them.  Nana and Pop Pop are seemingly well meaning old people. Their initial impression is warm and pleasant. Then things change when the sun goes down. Their behavior becomes erratic, in essence bizarre. Nana roams the house at night in various states of undress. She vomits on the floor and scratches at the walls. Pop-pop keeps his soiled adult diapers in the woodshed, attacks a stranger on the street and delusionally dresses in formal wear for a nonexistent costume party. Are they suffering from aging mental disorders or is there something even more sinister afoot? The chronicle marks the kids’ vacation time with five title cards, one for each day of their trip. The first person shaky cam perspective only obscures an empty narrative. The gimmick takes what could’ve been a passable time filler into something interminable. Right around the halfway point you’ll realize there’s no plot. That is, of course, until that inevitable “twist” that in no way justifies the long-drawn-out set-up. Apparently M. Night Shyamalan knows no other way to creatively end a story. The movie is a mere 94 minutes. Yet you’ll be begging for that final Friday title card way before it appears.



Posted in Comedy, War on September 11, 2015 by Mark Hobin

Stripes photo starrating-3andahalfstars.jpgAll around screw-up John Winger loses his car, girlfriend, apartment and job as a taxi driver, all within a few hours. After seeing an ad on TV, he decides joining the army is the answer. With his friend Russell Ziskey, they go down to the local recruiting center to enlist. Bill Murray and Harold Ramis enter boot camp, make a lot of wisecracks and show off the lighter side of basic training. This American military comedy was a massive summer hit in 1981 and further cemented the popularity of rising star Bill Murray who had previously scored big with both Meatballs and Caddyshack in each of the two prior years.

Director Ivan Reitman would most successfully direct Bill Murray and Harold Ramis in Ghostbusters. Here he keeps things much looser in this meandering comedy that comes across as kind of sloppy in parts. Every major plot thread in the movie is a bit bewildering. To be quite honest, that’s a significant component of the film’s charm. Don’t try to reason why being late to your own graduation ceremony and then giving an utterly unconventional (albeit coordinated) drill display, earns you the accordance of even greater respectability.

General Barnicke: Are you telling me that you men finished your training on your own?
John Winger: That’s the fact, Jack.
Soldiers: That’s the fact, Jack!

Impressed, the General decides these are just the ambitious men he wants guarding a top secret EM-50 Urban Assault Vehicle. Incidentally, it looks like a Winnebago. The men are sent to Italy to guard the weapon. Here’s where the narrative falls apart. John and Russell basically run afoul over there. One thing leads to another and they end up taking on the Communists.

There are segments that make this seem more like a relic than the blockbuster comedy it became. Early in the film, when John returns home, his girlfriend Anita (Roberta Leighton) is casually walking around the apartment topless. Later the boys go to a bikini bar to participate in a mud wrestling match. It’s a protracted scene.  Gratuitous nudity was a hallmark of 80s comedies and this one employed it more than most.  Oh and apparently women are simply putty in the hands of Bill Murray. At one point, he gives his sweetheart (P.J. Soles) what he calls “The Aunt Jemima Treatment”. That’s where he charms her skeptical exterior by throwing her onto a stovetop and shoving a spatula into her crotch. It ends with her admitting that’s she’s “helplessly, hopelessly, deeply in love” with him. Something tells me this would end differently in the real world

It’s odd how a comedy from 1981 can seem more outdated than say one from 1961. Irreverent is the nicest way to put it. That’s not to say Stripes isn’t worth watching. It’s occasionally hilarious. At the time, the film was the third on which Harold Ramis collaborated with Bill Murray, but the first in which the two actually appeared on camera together. The chemistry of their effortless friendship in real life, easily translates on screen. There’s some terrific moments leading up to their arrival at Fort Arnold. The meet-and-greet scene in the Army barracks is a highlight for everyone involved. Ox (John Candy) and Psycho (Conrad Dunn) have amusing introductions. Legend has it that Bill Murray’s “Chicks Dig Me” speech, including the bit about Lee Harvey and the cow, was improvised, Their basic training and on through their graduation feature some extremely funny bits. Unfortunately the dramatic momentum runs out of steam during the final act. Up until then, it’s quite entertaining. Nostalgic viewers old enough to have originally seen it during the 80s should enjoy it even more.


Mistress America

Posted in Comedy, Drama with tags on August 25, 2015 by Mark Hobin

Mistress America photo starrating-2andahalfstars.jpgNoah Baumbach’s latest character drama is a slender abstraction in search of a meaningful narrative. This isn’t a story but a series of witticisms strung together as entertainment. Actress Lola Kirke is Tracy Fishko, a drab artsy college student. She is starting her freshman year at Barnard, that oh-so-selective liberal arts college for women in Manhattan. She has no friends, flirts unsuccessfully with Tony, a potential boyfriend turned buddy, and is rejected by the school’s elite literary society. Then her life takes a turn for the better when she calls her soon-to-be step-sister. Brooke Cardenas is a bubbly Times Square resident who “does everything and nothing”. That’s according to Tracy’s assessment. She wavers between spin-class instructor, math tutor, freelance interior designer and whatever else strikes her fancy. Brooke is larger than life, a gal about town. Our tale centers around their night of unbridled whimsy. Tracy seems to idolize her. Or does she?

These individuals don’t talk to each other, but rather at each other knowing full well we the audience are eavesdropping on their affected conversation. These aren’t people as we know them, but models of pseudo-intellectual posturing. A chum photographs Brooke in a club and she loudly proclaims “Must we document ourselves all the time? Must we?” The sheer volume at which she makes this declaration ostensibly so that everyone within earshot can applaud her specious display of modesty. She never stops, constantly in motion, incessantly talking. On several occasions I was compelled to simply shake this woman free from her all-encompassing fog of self-interest. It’s inexhaustible. “Could you please just shut up for 2 seconds?! Seriously, please.” Brooke never stops to take a breath for fear that she might actually hear something other than the sound of her own voice.

Good grief, Brooke Cardenas is incredibly self-absorbed. You’ll snicker. You’ll smile occasionally, but the sum total adds precious little value. Noah Baumbach has been making movies for 2 decades now. Mistress America is his 9th directorial effort and his 3rd collaboration with Greta Gerwig. They’re a couple in real life and I will admit the relationship has actually made his characters more pleasant. Brooke has a sunny disposition at least, but she’s too self-indulgent to truly embrace. The whole shebang climaxes (a most charitably chosen verb) over an act of betrayal. The acrimonious finale takes place in the upscale home of Brooke’s ex-fiance (Michael Chernus) and his wife, Mamie-Claire (Heather Lind). She was once Brooke’s best friend, now mortal enemy. A coterie of supporting players present weigh in on Brooke and Tracy’s friendship. The mixed message of the piece leaves the viewer in a state of flux. Is Brooke life-affirming? Is Brooke a disorganized mess? She’s got moxie, sure, but inherently flawed as well. So what’s the point? To worship at the altar of an individual who is shamelessly narcissistic apparently.


The Man from U.N.C.L.E.

Posted in Action, Adventure, Comedy with tags on August 18, 2015 by Mark Hobin

The Man from U.N.C.L.E. photo starrating-3andahalfstars.jpgConfession time. I’ve never seen an episode of The Man from U.N.C.L.E. – the dated mid-60s TV show starring Robert Vaughn and David McCallum. The two worked as ancillary superspies for a global covert intelligence agency during the Cold War. The series lasted a mere 4 seasons but apparently it made enough of a lasting impression to inspire this movie. In my jaded estimation, turning a TV show into a feature film seems like another lazy attempt to start a franchise. Perhaps the motivation of the producers is a bit calculating, but I found this to be nothing less than an effervescent cocktail of a spy thriller. It’s a handsome production.

Speaking of handsome, The Man from U.N.C.L.E. stars Superman and the Lone Ranger. That’s Brit Henry Cavill as American Napoleon Solo and American Armie Hammer as Soviet Illya Kuryakin. It’s debateable, but I dare say neither actor has ever been more charismatic on screen than they are here. The two trade wisecracks with flair and panache, each one playing a game of one-upmanship that’s so delightfully fun you can’t help but smile. Cavill also banters with Australian actress Elizabeth Debicki as Victoria Vinciguerra, a devastatingly beautiful but icy Italian villain. Cavill tosses off quips with compelling insouciance. The words delivered with such clarity they sound almost too lyrical to be coming from an American, but the fantasy works nonetheless. This is how we wish we spoke. Like some long lost conversation between Cary Grant and Grace Kelly, their flirtatious exchanges are captivating.

What sets this apart from today’s bombastic assaults is that the approach is breezily elegant. This bright, sparkling concoction is a period piece mixture of swanky espionage, jazzy lounge pop instrumentals and chic fashions. James Bond author Ian Fleming contributed to the original concept of the TV show and that’s immediately obvious when watching this film. It oozes the aesthetic of that British Secret Service agent in every frame. Daniel Pemberton’s light snappy arrangements should be recognized. His pop music selections suggest Hugo Montenegro’s work on the TV series as well as Henry Mancini and Lalo Schifrin with stirring élan. Surprisingly he excludes Jerry Goldsmith’s popular theme song. The omission isn’t missed however as the dulcet tones present effectively transport viewers back to the bossa nova of another time and place.

Costume designer Joanna Johnston also deserves a special mention. Henry Cavill’s Napoleon Solo is the most nattily attired secret agent I’ve ever seen. In one scene he sports a large blue windowpane plaid suit inspired by Steve McQueen in The Thomas Crown Affair. He’s talking with nemesis Victoria Vinciguerra in a black and white number that’s an homage to Cruella de Vil. The two look marvelous. Let’s not forget Swedish Alicia Vikander as the equally stunning but spunky Gaby, an East German mechanic recruited to be an unlikely ally. At one point she models an orange and cream wool camo-print mini-dress that is utterly Twiggy-esque.

The Man from U.N.C.L.E. is a pleasant refreshment. It’s not the most urgent story you’ll see at the multiplex this year but it is entertaining. Guy Ritchie has directed this flick with the same swagger he brought to Sherlock Holmes. Robert Downey, Jr. And Jude Law were a dashing pair and Ritchie extracts that same palpable chemistry between Henry Cavill and Armie Hammer. They have never been better. 2015 has seen its fair share of undercover thrillers. There was Kingsman: The Secret Service, the comedy Spy and Mission: Impossible – Rogue Nation. All saw decent success. The Man from U.N.C.L.E. proves there’s room for one more. Its sexy take is a satisfying addition to the mix. Granted it’s superficial, but it’s enjoyable nonetheless. This should be a welcome diversion to tide the spy fan over until Spectre, the 24th Bond film, is released on November 6th.


Shaun the Sheep Movie

Posted in Adventure, Animation, Comedy, Family with tags on August 11, 2015 by Mark Hobin

Shaun the Sheep Movie photo starrating-4stars.jpgDelightful confection about a sheep who simply dreams about having a day off at the farm. Shaun (Justin Fletcher) is the de facto leader of a flock of sheep. He hatches a scheme so they can have a break from their daily routine. Naturally things don’t go quite as planned.

Despite the title, Shaun the Sheep is actually an ensemble piece. There’s the oblivious bespectacled Farmer (John Sparkes). His odyssey after accidentality winding up in the Big City is just as important as Shaun’s narrative. There’s the rest of the flock too, some of whom get distinct personalities. This includes Nuts, Hazel, Shirley, the largest member and little Timmy, Shaun’s nephew. There’s Bitzer the Sheepdog, who bears more than a passing resemblance to Gromit, another Nick Park creation. Bitzer is loyally devoted to the Farmer and the calm yin to Shaun’s wild yang. Their adventures allow them to meet a variety of animals including Slip, a lovable little stray dog with the longest eyelashes ever. But it’s not all fun and games. They must contend with Trumper (Omid Djalili) an animal control officer who is the traditional nemesis of any stray pet.

Shaun the Sheep is the sixth feature from Aardman Studios and based on the BBC television show. The production almost exists in another world apart from other animated films. However the visual and comedic stylings are very much in line with the British animation studio’s other pictures. Located in Bristol, they are best known for using stop-motion claymation techniques. The company first gained fame with several shorts starring the adventures of Wallace & Gromit. In 2000 they released their theatrical debut with Chicken Run and it was a huge success.

Shaun the Sheep is warm, clever, witty, hilarious, touching, sweet, cute.  I could go on. A delight for those who appreciate a whimsical romp. It’s refreshingly slight clocking in at a mere 85 minutes. For those whose tastes run toward more electrifying fare, this placid tale may seem a bit soporific. There’s nary a word of spoken dialogue. Everything is expressed through gestures and vocal cues. I, on the other hand, truly appreciated this undemanding tale’s lighthearted take. It’s rather impressive how much story be conveyed through mutters and grunts and baas and bleats. As such, witty sight gags abound. Gentle G rated humor references Inception, Silence of the Lambs, Taxi Driver and The Terminator. Stick around for an end-credits homage to Ferris Bueller’s Day Off. Early on, the sheep lull Farmer to sleep by continuously jumping over a fence. But my absolute favorite interlude is a disguise sequence where the sheep dress up as humans and go out to a fancy French restaurant. It’s so visually brilliant it could only be described as Chaplin-esque.



Posted in Comedy, Drama with tags on August 2, 2015 by Mark Hobin

Tangerine photo starrating-4stars.jpgA girl inadvertently reveals the philandering ways of her pal’s boyfriend during a casual conversation in an LA doughnut shop The news compels the deceived to get to the bottom of the situation. Sounds like a rather pedestrian plot, right? Now add that the parties are 2 transgender prostitutes working in a seedy part of Hollywood. Her beau earns a living as a pimp and the whole production was shot on an iPhone 5s. Are you still with me? OK well yes, Tangerine is gonna be a rough journey for some. This is LA, raw and uncensored, right in the heart of where N. Highland Ave. intersects Santa Monica Blvd. Yet deep down, heart is what this picture is all about.

A great story is highlighted by meaningful characters. This diverse ensemble is headlined by a plethora of memorable people including an Armenian taxicab driver (Karren Karagulian), his wife (Luiza Nersisyan) and her mother (Alla Tumanian). Tangerine stars Kitana “Kiki” Rodriguez as Sin-Dee Rella and Mya Taylor as her BFF Alexandra. Both make their acting debut here. The two unite in gritty L.A. during Christmas Eve. Sin-Dee has recently gotten out of LA county jail and she’s looking for her boyfriend/pimp Chester (James Ransone). She has just been informed that he has been less than true. Hell hath no fury like a woman scorned. That there is still space to present Alexandra and her dreams of becoming a singer, only adds to the depth of the narrative.  In keeping with the Christmas period, her rendition of the song “Toyland” from the Victor Herbert operetta Babes in Toyland is moving.  The myriad of individuals ultimately descend at Donut Time for a confrontation at the corner of Santa Monica Boulevard and Highland Avenue.

Tangerine is an important film. Not simply because of content. Plenty of movies have dealt with challenging adult subject matter. What sets it apart is uplifting proof that cost is no longer a prohibitive factor when setting out to make an entertaining flick. The fact that the entire drama was photographed on an iPhone 5s is clearly the result of an autonomous mind. The idea that anyone with a unique point of view can make a movie is an exhilarating concept that lies beneath every frame of Tangerine that illuminates the screen.

Director Sean Baker is an American film and TV director and co-creator of Greg the Bunny, an American television sitcom that originally aired on Fox in 2002. Tangerine is actually his fifth feature but perhaps the first to achieve any modicum of fame. In it, he provides an insider’s view of the sordid and dangerous lives of streetwalkers in Los Angeles. Yet it’s not entirely doom and gloom. It’s marked by a light touch. Some of the most laugh-out-loud moments in all of 2015 occur in this production. The screenplay is accentuated by some flippant one liners that are sure to be oft quoted lines of dialogue as the movie undoubtedly makes its way into the pop culture mainstream in years to come.

Tangerine pulses with the unique voice of independent film. The narrative beats with a vitality rarely seen in contemporary cinema. An evocation of LA’s current essence, perfectly captured as any I’ve seen.  It’s vibrant and funny and yes at times pretty bleak.  The humorous touch sometimes undone by the grim truth in the ongoing predicament of the two protagonists. Perhaps that’s being authentic but it also shocks the viewer. One minute we’re laughing at an amusing aside, the next we’re slapped into harsh reality by dead seriousness. Along the way, the script straddles the line between dignifying the two leads and exploiting them. That’s no easy feat. Their fierce attitudes consistently at the fore as the chronicle emphasizes their sassy personalities.  Yet it never resorts to caricature. There’s an inherent sadness within these characters too.  The humanity on display is pretty heartbreaking. Tangerine encapsulates the atmosphere of LA 2015 and distills this into a poignant chronicle for the present generation. The sensibility is clearly the product of our modern time. Like Boyz n the Hood (1991), The Player (1992) & Mulholland Drive (2001), Tangerine is the quintessential LA movie for the current era.



Posted in Animation, Comedy, Family with tags on July 11, 2015 by Mark Hobin

Minions photo starrating-4stars.jpgIt was only a matter of time before the Minions, those breakout stars from the Despicable Me movies, got their own picture. You already know whether you’re going to enjoy this. If you appreciated their antics in the aforementioned films, then you should find this to be the bee’s knees. On the other hand, if you walk in begrudgingly detesting those lovable rapscallions, then you’ll undoubtedly just go on hating them with clenched fists and a closed heart. Theirs is a physical comedy part of a rich tradition that is an evolution of slapstick and farce. Buster Keaton begat The Three Stooges who begat Jerry Lewis who begat Benny Hill who begat the Minions.

The word evolution is particularly apropos in this case. Minions commences with the very dawn of time. Starting as single-celled organisms, we see the Minions evolve through the ages. In every era they unceasingly serve a litany of only the most despicable of masters. From Tyrannosaurus Rex to Dracula to Napoleon, they go through one boss after another, accidentally killing off each one due to their own clumsiness. Our proper adventure begins when the Minions (all voiced by director Pierre Coffin) find themselves without a master to serve. Then one Minion named Kevin decides to change things. He has a plan to find a new master. He’s taking two buddies, Stuart and Bob. These three, who bear a striking style similarity to Gru’s 3 daughters, travel cross the ocean. They visit New York City first – circa 1968 or 42 years B.G (Before Gru) – before winding up in swinging mod London.

The setup lays the groundwork for a nonstop silly fun fest. Granted, the Minions are not known for their sophisticated wit. In fact most of their communication is a dialect that is mixture of English words peppered with foreign phrases. It’s a creative amalgamation of vernacular where syntax is key. Humor is derived from being able to interpret their Minionese within the right context. Although you don’t understand the vocabulary, you feel what they’re saying. It’s not hard to grasp. Kids in particular appreciate their lighthearted ability to adapt to whatever situation they must face. It’s an admirable quality.

Their business takes them to something called Villain-Con in Orlando. The city is presented as swampland in 1968 but it’s perhaps no small coincidence that the studio responsible for this, built a resort there in 1990. Villain-Con is clearly based on San Diego’s Comic Con but functions as sort of a delegation for the most evil supervillains ever assembled. Look carefully and you’ll notice Dr Nefario from the previous films. Gru and his mother are there too. With a nod to female empowerment, the undisputed leader in the field is Scarlet Overkill (Sandra Bullock), the baddest criminal of them all. With her perfect 1960’s flip, she recalls Mary Tyler Moore. Her husband Herb (Jon Hamm) suggests Ringo Starr…or is it Pete Townshend? I’m not too sure. The rocking 60s soundtrack features both The Beatles (“Got To Get You Into My Life”) and The Who (“My Generation”) so I suppose it could be either. Which leads into my next point.

On the surface Minions is silly fun, but the narrative highlights a lot of delightful in-jokes that should entice hip viewers. Kids won’t get them and frankly many adults won’t either. The floor in Scarlet Overkill’s abode resembles the carpet in The Shining. Stuart greets the fire hydrant he fancies with “Papagena” which sounds like nonsense unless you realize it’s a character in The Magic Flute. Kevin whistles a tune from Mozart’s opera later. Scarlet Overkill’s bedtime story about a big bad wolf is underscored by Prokofiev’s Peter and the Wolf. But it’s not all classical music. Baby boomers should dig the 60s fan service. Minions pop up out of a manhole cover just as the Beatles are crossing the street à la Abbey Road. The minions sing “Revolution”, the “Theme from the Monkees”, and “Hair”. They watch TV while flipping past The Saint, Bewitched & The Dating Game. Alas there are instances where toilet humor shows up like an unwelcome house guest. In those brief moments, taste takes a regrettable detour. However, more often than not, Minions is a feast for savvy pop culture aesthetes and their children as well.


The Overnight

Posted in Comedy, Drama with tags on July 9, 2015 by Mark Hobin

The Overnight photo starrating-2stars.jpgYoungish parents Alex (Adam Scott) and Emily (Taylor Schilling) have recently moved to Los Angeles. Trying to fit in, they are longing to make some new friends. One day while out at the playground with their son (RJ Hermes) they meet slightly odd but seemingly genial Kurt (Jason Schwartzman), whose own son (Max Moritt ) has quickly made friends with the couple’s boy. Kurt invites them over for pizza. They tentatively accept.

Using “slightly odd but seemingly genial” to characterize Kurt also kind of describes this film. At Kurt’s grand estate, they meet his French wife, Charlotte (Judith Godrèche) whose smiley demeanor is particularly welcoming. As the evening progresses, the conversation is pleasant. The kids grow tired of playing. The parents agree to let them sleep over. They put them to bed. Then things really get weird.

For a while, you question what is the point of all his. Then it becomes clear. Writer/director Patrick Brice has fashioned a whole comedy around male insecurity. It’s the squares vs. the swingers. Their night of discussion highlighted by an escalating series of outré moments: Charlotte’s acting career, Kurt’s paintings, a dip in the pool, a wine run excursion. I’ll admit there are a few mildly amusing bits here and there. It’s sort of like if Woody Allen directed Bob & Carol & Ted & Alice. Unfortunately, what this ultimately leads to doesn’t justify the entire evening that we have endured with these people. The punchline of an ending is pretty limp. This is a comedy skit, not a movie.  Size doesn’t matter. Yet it’s only a mere 79 minutes.  Still I wouldn’t have even spent that much time in their house. Honestly I wish I hadn’t even attended in the first place.



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