Archive for June, 2021

Fatherhood

Posted in Comedy, Drama, Family with tags on June 27, 2021 by Mark Hobin

Rating: 2 out of 5.

I review what people see. F9 just set a pandemic era record by making $70 million this past weekend. Godzilla vs. Kong and A Quiet Place: Part II also did well earlier this year. Given those theatrical successes, I suspect box office will become an accurate reflection of what captures the public interest at some point. With everyone’s viewing habits currently relegated to streaming, it’s been difficult to tell what the masses are watching. At 208 million subscribers, Netflix is far and away the #1 streaming service. Amazon Prime Video is a distant second. For most of 2020 (and 2021 so far), the Netflix Top 10 has been a good reflection on what’s popular. Originally scheduled as a theatrical release by Sony Pictures, Fatherhood was ultimately sold to Netflix and debuted on June 18. It immediately became their #1 movie so I decided to check it out.

This drama starring Kevin Hart is based on the biography by blogger turned author Matthew Logelin entitled Two Kisses for Maddy: A Memoir of Loss and Love. Logelin’s recollection is an account of grief following the unexpected death of his wife right after giving birth to the couple’s first child and then his adapting to single parenthood. I won’t negate the unimaginable real-life tragedy of losing your wife hours after becoming a father. That is a profound event from which few could ever recover. Somehow Matthew Logelin managed to channel that agony and then write about it. Kudos and respect on his accomplishment. Paul Weitz and Dana Stevens subsequently adapted Logelin’s book into a screenplay (far less successfully) that became Fatherhood.

This movie doesn’t do his thoughtful subject any justice. Fatherhood is a maudlin, overly saccharine tale that fails to introduce a single genuine emotion. The chronicle is a well-meaning but uninvolving series of hackneyed affairs that even non-parents would associate with being a father. When Maddy is a baby, plot developments include the difficulty of changing diapers and that infants cry at night. Then when she’s a toddler (Melody Hurd) the story concerns Matthews entering the dating world and Maddy’s acceptance of his choice for a mate (DeWanda Wise). The details are generic and mundane. The film is lacking an original point of view and quite frankly a pulse.

Fatherhood is a calculated effort to present a kinder, gentler version of comedian Hart. The narrative is incredibly sappy. Every time something uplifting happens, inspiring music swells to emphasize the fact and when a sad occurrence unfolds, a very somber tune overwhelms the soundtrack. Those familiar with Hart’s manic stand-up routines will be surprised to find he affects a persona here that is completely unrecognizable. I’ll give him points for going outside his comfort zone. There are occasional glimpses of humor, but this is mostly a bleak, serious affair. It’s like an pale rewrite of the 80s comedy Three Men and a Baby except with just one person and minus the laughs.

06-25-21

Fast Film Reviews on talkSPORT radio

Posted in Podcast with tags on June 27, 2021 by Mark Hobin

I’m talking movies on the radio with Martin Kelner. Sunday, June 06 on talkSPORT radio we discussed the dueling Emmas in Disney’s CRUELLA (Disney+), THE CONJURING 3 (HBO Max), and last year’s critically acclaimed FIRST COW (Hulu). My segment begins 24 minutes into the 2:30 – 3:00 section (about 6 minutes from the end). We continue talking at the beginning of the 3:00 – 3:30 segment. Enjoy!

Source: The world’s biggest sports radio station | talkSPORT

The Courier

Posted in Biography, Drama, History, Thriller, War on June 24, 2021 by Mark Hobin

Rating: 3 out of 5.

Do you love Cold War spy films? Well then I have good news!

Greville Wynne is a mild-mannered British businessman with no connections to the government. That’s a plus. His frequent trips to Eastern Europe on business is another advantage. The two qualities make him a perfect candidate to be a spy. MI6 recruits him to be just that. Emily Donovan (Rachel Brosnahan) is an American CIA officer who assists. Greville is tasked with acting as a courier transporting classified information to London. His contact is Soviet agent Oleg Penkovsky (Merab Ninidze) — a high-ranking foreign military officer providing top-secret intelligence

The fact that this is a true story makes it infinitely more interesting. The confrontation in 1962 was between John F Kennedy in the U.S. and Nikita Khrushchev of the USSR. The Cuban Missile Crisis was perhaps the closest the Cold War came to escalating into a full-scale nuclear conflict. That’s the historical basis but this is a character drama first and foremost. The friendship between Greville and Oleg, two men from opposite sides of the Iron Curtain forged a bond that is affecting. Greville’s wife Sheila (Jessie Buckley) is kept in the dark about her husband’s activities but she suspects something is amiss. At one point she mistakenly thinks her husband is having an affair.

These portraits of history are fascinating. It’s all about the point of view. This unsurprisingly aligns with American and British interests. From the U.S. perspective and its allies of the Western Bloc, Penkovsky is a hero. His undercover operations helped put an end to the Missile Scare. However, to the Soviets and the Eastern Bloc, he was a traitor. How Penkovsky weighed patriotism vs. his moral compass would have been a compelling study. Although those ideas percolate underneath the surface, the screenplay doesn’t delve too deeply into that conversation. This is a simple movie with clearly delineated characters representing the “good” and “bad” positions.

The Courier is very much an old-school espionage thriller. They were all the rage in the 1960s: The Spy Who Came in From the Cold, The Ipcress File, Torn Curtain, The Double Man, Ice Station Zebra. They’re something of a vanishing breed these days. Tinker Tailor Soldier Spy and Steven Spielberg’s Bridge of Spies are recent examples of note. If I’m being charitable, I’d say this is less engaging. If I’m being blunt, the account is a bit stodgy and dull. It’s a decent well-acted movie with nice production values though. I’d recommend it to fans of those films.

The Courier debuted domestically back on March 19. After earning a paltry $6.6 million in theaters, it went to video on demand April 16, where it’s currently available. It got a DVD release June 1st.

Luca

Posted in Adventure, Animation, Comedy, Family with tags on June 22, 2021 by Mark Hobin

Rating: 4 out of 5.

Pixar has its humble beginnings as part of the Lucasfilm computer division way back in 1979 before spinning off into a separate entity in 1986. Flash forward to 2006: Disney buys Pixar for $7.4 billion. I’ll admit the distinction between the two studios is a bit murky. Yet there’s still a technical difference when a cartoon feature comes from Walt Disney Studios and when branded as Pixar Animation. I think the mantle for the premier American animation studio shifted 17 years ago in 2004 when Pixar unveiled one of the greatest superhero movies ever made in The Incredibles. That same year Disney released something so forgettable that I suspect few even remember it: Home on the Range. Luca is a further reminder that Pixar is the studio that consistently creates films that touch the heart.

The setting is the beautiful city of Portorosso, a fictional town somewhere along the Italian Riviera. It takes place in the 1950s and the soundtrack incorporates Italian pop music from that era. Luca Paguro (Jacob Tremblay) is a teenage sea creature. His species refer to people as land monsters. Conversely, humans have a similarly negative view of them. His life changes when he meets another young sea monster named Alberto Scorfano (Jack Dylan Grazer). Alberto opens Luca’s eyes to their ability to transform into humans when completely dry. This is a chronicle about their adventures.

Luca is literally a fish out of water comedy. It concerns the titular hero passing for a human on land. The celebration of new experiences exalts opera music, books, telescopes, umbrellas, gelato, pasta…and most importantly Vespas. The plot revolves around competing in the Portorosso Cup (a race that involves swimming, pasta eating, and cycling). The boys hope to win the competition and use the prize money to buy one. In fact, the Italian motor scooter represents such a singular aspiration here, I started to want one. It’s like watching E.T. and craving Reese’s Pieces.

The expressive voice work is worth noting. It’s a bit all over the place though. Main characters Luca, Alberto, and Giulia (Emma Berman) – the girl that befriends them – have American accents. This often irritates me when a movie is set outside the U.S. However, the tonal quality of their voices is so inviting, it grew on me. Meanwhile most of the villagers speak with broad Italian inflections. Their intonations are so highly exaggerated, I didn’t think such stereotypes were still allowed in 2021. This includes the resident bully Ercole Visconti (Saverio Raimondo) and Mrs. Marsigliese (Marina Massironi) – the woman who runs the Portorosso Cup race.

Luca is the directorial feature debut of longtime Pixar storyboard artist Enrico Casarosa. He was born in Genoa, Italy, and draws from his childhood in creating this affectionate tale filled with authentic flair. Pixar always does an excellent job at designing landscapes. The underwater spectacle has a graceful flow and the portrait of this coastal center in Italy is exceptional as well. The tableau captures the notable allure of this quaint port city.

Oh what a charming memoir! Water is a key element. The amphibian species are human when dry but shapeshift into sea monsters when they come in contact with H2O. There is a lot of humor extracted from Luca and Alberto trying to hide their true selves from the townsfolk. I laughed at every single moment they got wet and it became an issue. Little bits like Luca using snail slime as hair gel, the image of Grandma Paguro (Sandy Martin) sleeping with her eyes open, or sea-themed swears “Holy carp!” and “Oh sharks!” only add to the charm. Of course, there is a conventional moral about accepting people that are different from yourself. Yes, we’ve seen that before but the presentation of that lesson is so stylish and unique, I embraced the idea as if I was hearing the message for the first time.

06-18-21

Fast Film Reviews on talkSPORT radio

Posted in Podcast on June 20, 2021 by Mark Hobin

I’m talking movies on talkSPORT radio with Martin Kelner. On Sunday, May 30 we discussed Zack Snyder’s ARMY OF THE DEAD (Netflix), the major hit A QUIET PLACE PART II (theaters), and THINGS HEARD & SEEN (Netflix) with Amanda Seyfried. My segment begins 18 minutes into the 2:30 – 3:00 section (about 12minutes from the end). Enjoy!

Source: The world’s biggest sports radio station | talkSPORT

In the Heights

Posted in Drama, Music, Musical with tags on June 14, 2021 by Mark Hobin

Rating: 3.5 out of 5.

Before Hamilton, there was In the Heights — Lin-Manuel Miranda’s other Broadway musical. A blistering heatwave is affecting the residents of Upper Manhattan, New York City. The chronicle details the days leading up to a citywide electrical blackout. Washington Heights is colloquially known as “Little Dominican Republic.” The thriving neighborhood is home to a lively population that also includes Puerto Ricans, Cubans, Mexicans, and most notably Dominicans in this particular story. They call this Latino enclave home. It’s hard not to be reminded of West Side Story. Lin-Manuel Miranda has admitted the Arthur Laurents / Leonard Bernstein / Stephen Sondheim play did inspire him but he wanted to tell a different narrative. This isn’t about rival gangs but simply an uplifting tale about the vibrant community of immigrants and their pursuit of the American dream.

Usnavi (Anthony Ramos) is an orphan and owner of a bodega in the neighborhood. He longs to return to his family’s homeland in the Caribbean. He was raised by “Abuela” Claudia (Olga Merediz), though she is not his grandmother by blood. Usnavi has a crush on the beautiful Vanessa (Melissa Barrera) who dreams of getting out of the barrio and moving downtown where she can pursue a career as a fashion designer. She has been friends since childhood with Nina (Leslie Grace) who moved to California to attend Stanford University. Unfortunately, Nina finds adapting to the culture at Stanford a lot harder than she thought. She is pursued by Benny (Corey Hawkins). He is a taxi dispatcher for Nina’s Father, Mr. Rosario (Jimmy Smits). Benny hopes to open his own business one day.

I am an unapologetic fan of musical dramas. Contrary to popular belief, they never left. Case in point: The past five years have given us Sing Street, La La Land, The Greatest Showman, Mary Poppins Returns, A Star Is Born, Bohemian Rhapsody, even (I’ll defend it) Disney’s live-action Aladdin. I embraced them all for their sunny attitude. So how much joy can you handle? I freely admit that musicals are inherently sentimental already. Name another genre where people burst into song to clarify the way they feel. Yet even I was a bit surprised by the onslaught of joyful intensity that awaited me in this film.

The score features a mixture of hip-hop, salsa, merengue, and soul. Rarely have I seen a movie so zealous on conveying happiness and enthusiasm. The principals are all going through various trials and tribulations. They have their doubts, but you know they’re going to come around right before the finale. There’s no place like home is the underlying moral. Lin-Manuel Miranda wants to convey that feeling, so I get it. That sentiment also underscored the philosophy in The Wizard of Oz, but the sheer exuberance here makes that masterpiece look like a funeral dirge.

How about those production numbers! In the Heights is a veritable smorgasbord of one spectacle after another. There are sequences of spoken dialogue, but the lyrics are essentially conversation set to a tune. As such — and I mentioned this in my Hamilton review — the picture is best viewed with closed captions to better comprehend the rapid-fire exposition. It explains these characters. Just three minutes in, the film’s first ditty “In the Heights” debuts with Usnavi’s talk/singing to the audience. He recounts to us how he got his name. His father saw the letters “US Navy” imprinted on the ship that passed by when he entered the country. That is but one tidbit. There are so many more details dropped in this 7+ minute tune. The melody is a chaotic montage of key information and quickly edited images. No newbie could possibly take it all in one sitting. The ability to watch and rewind that performance is a luxury to be savored.

Then comes the moment that virtually justifies the movie’s existence. A winning lottery ticket has been sold at Usnavi’s store and the “96,000” prize is the subject of a spectacular exhibition at New York’s public Highbridge Pool. The chanting chorus track with synchronized swimming and 500 extras is like something out of 1952’s Million Dollar Mermaid. Busby Berkeley and Esther Williams would be proud. But there are many more. How about “Carnaval Del Barrio” where Daniela (Daphne Rubin-Vega) lifts the spirits of the block (and the audience) while the neighborhood is lounging around depressed in the sweltering heat with no electricity. Even quieter ballads like “When the Sun Goes Down” feature a little magic during an exquisite dance sequence where Nina and Benny sashay up the vertical wall of a building.

Director Jon Chu most successfully directed Crazy Rich Asians (2018) but his work on the dance movie Step Up 2: The Streets (2008) and its sequel Step Up 3D (2010) lay the foundation for his stellar achievement here. The story celebrates community. The idea that family and friends often come together during difficult times is nothing new. What elevates the saga are the production numbers which are beyond compare. If you love musicals (as I do) then, In the Heights will not let you down. If not, this nearly 2 1/2 hour film might test your “Paciencia Y Fe” — but only in the most hopeful way possible.

06-10-21

Dream Horse

Posted in Biography, Comedy, Drama with tags on June 10, 2021 by Mark Hobin

Rating: 3.5 out of 5.

Feel-good movies get a bad rap. How could something that uplifts the spirit ever be a negative thing? I can’t speak for everyone, but I’m pretty sure happiness is a feeling we enjoy. Dream Horse is a delight. It’s a cozy blanket — a warm and inviting experience that I’ve felt before but was more than willing to appreciate again.

This is the true story of a racehorse with humble beginnings. By day, Janet Vokes works as a grocery store cashier in a small town in South Wales. At night she’s a bartender at a local pub. One evening at work, Janet overhears Howard Davies (Damian Lewis), a tax adviser, discussing a thoroughbred he once owned. Up until then, she had only bred whippets, rabbits, and pigeons. Howard’s words inspired her.

Janet and her husband Brian (Owen Teale) buy a mare for £1000. They then bring the mare to Kirtlington Stud in the UK so she can be bred with a racing stallion. Of course this is expensive. Jan convinces her neighbors to chip in their earnings to help out. Ultimately over 20 different people joined the ownership syndicate. The ensuing offspring is aptly named Dream Alliance. The foal is then brought to trainer Philip Hobbs (Nicholas Farrell). The expectation is that they might raise a racehorse to compete amongst the champions of the privileged class. “Remember, there’s a less than one percent chance this horse will ever win a race,” Howard cautions. As I sat watching a film called Dream Horse, I suspected the odds were a little better.

I’ll admit the plot sounds like a piece of sentimental hokum and it would have been in lesser hands. Certainly, screenwriter Neil McKay and frequent TV director Euros Lyn deserve credit for their contributions. However, Toni Collette really must be cited for her flawless performance. The actress is simply captivating. Whether pleading for a risky medical procedure that could prolong the horse’s life or deciding whether to enter him in yet another race, she is eminently relatable. Collette radiates warmth and enthusiasm with utter sincerity. As Janet, she can be aggressively enthusiastic but also vulnerable. Few actors can convey all this with such ease. She manifests these emotions with authenticity. It never comes across like acting. The rest of the ensemble rise to her level. The coterie of working-class investors includes a lonely widow (Siân Phillips), the town drunk (Karl Johnson), and a resident know-it-all (Anthony O’Donnell). Misfits all, we truly want to champion the citizens of this Welsh village.

The British have a way with these heartfelt tales. Over the last three decades, successful comedic dramas include Enchanted April (1991), Brassed Off (1996), The Full Monty (1997), Waking Ned Devine (1998), Billy Elliot (2000), and Death at a Funeral (2007). There’s a through-line in each that effectively extracts genuine emotion within a disparate cast of characters united by a common struggle or goal. Dream Horse continues that hallowed tradition. Among 2021 movies that give you hope, it’s a front-runner.

06-08-21

The Conjuring: The Devil Made Me Do It

Posted in Horror, Mystery, Thriller with tags on June 6, 2021 by Mark Hobin

Rating: 2.5 out of 5.

Back in 1970, Comedian Flip Wilson performed a routine on The Ed Sullivan Show featuring a character that would become his most famous persona. Geraldine Jones was a sassy, liberated Southern woman. Stay with me. I promise this is relevant. In the comedic bit, she is a preacher’s wife. Her husband angrily demands why she bought an expensive new dress. Denying all culpability she replies, “The Devil made me do it.” The response became a ubiquitous expression of the 1970s and a hilarious way to deny all responsibility for one’s actions.

This chapter could have simply been called The Conjuring 3 but the more creative title harks back to when it was a popular and lighthearted catchphrase. Yet there’s nothing funny about this flick. In fact, a very real event inspired this story. In 1981, Arne Cheyenne Johnson, 19, was charged with murdering his landlord, Alan Bono in cold blood while they fought over his girlfriend, Debbie Glatzel. The defense? “The devil made him do it” — or more specifically a demon manipulated Johnson into stabbing Bono to death with a pocket knife.

This is technically the eighth film in “The Conjuring Universe” but only the third to star Patrick Wilson and Vera Farmiga as Ed and Lorraine Warren, two paranormal investigators. Ed is a self-professed demonologist. Lorraine is a clairvoyant and a light trance medium. Together they form a powerful team. The Warrens are called in to contribute evidence for Arne Johnson’s (Ruairi O’Connor) defense.

That factual basis could have laid the foundation for an ambitious courtroom drama highlighted by intelligent discourse and legal precedents. I would have so much preferred that narrative to the one presented here — a shallow fright-fest. As is de rigueur for satanic possession movies, we get scenes that steal iconography from The Exorcist. Look! A hat-wearing priest (Steve Coulter) carrying a bag steps out of a car and approaches a house at night in the beginning. Now Father Gordon is evicting demons from people by shouting scripture. There are lots of bizarre happenings that utilize unsettling special effects. The series of horror vignettes admittedly do give some genuine frights.

The production provides some creepy images that manage to engage at times. It begins when a supernatural presence is trying to obtain the soul of mild bespectacled 8-year-old David Glatzel (Julian Hilliard), Debbie’s (Sarah Catherine Hook) younger brother. The little boy is possessed and his body contorts in weird ways so that you hear his bones crack. Arne Johnson gets involved when he sacrifices his own body to save the boy by speaking directly to the beast: “Come into me, I’ll fight you, come into me.” Later in flashback, we see David was visited by the evil spirit earlier while lying on a waterbed. Those are effective displays. The film is entertaining in fits and starts.

Patrick Wilson and Vera Farmiga are great actors slumming in a so-so movie. It’s not terrible. I’d recommend this to anyone who is a big fan of chapters 1 & 2. However, if you’re a demanding connoisseur of quality horror pictures, there are far better choices. A Quiet Place Part II is currently playing in theaters.

06-04-21

Fast Film Reviews on talkSPORT radio

Posted in Podcast on June 4, 2021 by Mark Hobin

I’m talking movies on talkSPORT radio with Martin Kelner.  This was recorded Sunday, May 23.  This week we discuss Angelina Jolie in THOSE WHO WISH ME DEAD (HBO Max), the legal drama MONSTER (Netflix), and THE WOMAN IN THE WINDOW (Netflix) with Amy Adams. My segment begins 24 minutes into the 2:30 – 3:00 section (about 6 minutes from the end). Then we continue talking at the beginning of the 3:00 – 3:30 segment. Enjoy!

Source: The world’s biggest sports radio station | talkSPORT

Cruella

Posted in Comedy, Crime, Family with tags on June 3, 2021 by Mark Hobin

Rating: 3 out of 5.

Have you seen Disney’s 1961 animated classic One Hundred and One Dalmatians lately? It is perhaps the least pretentious tale the Disney factory has ever concocted: evil woman hires criminals to steal puppies so she can make a fur coat. It also has one of the greatest Disney villains ever. Voiced by radio star Betty Lou Gerson, her raspy voice addressed everyone as “dahling” like theater legend Talulah Bankhead. The character preened about the room ensconced in a huge fur that hides her skeletal frame while chain-smoking from a cigarette holder. She was a sight to behold. Like actress Margaret Hamilton as the Wicked Witch of the West in The Wizard of Oz, the villain didn’t have a lot of screen time. Yet when she appeared, her charisma was such a force of nature it loomed over everything else. You remember her to be a bigger presence than she actually was.

Cruella is another live-action Disney concoction that investigates the origins of this character in the form of a prequel. Reinvent the story from the villain’s perspective. This was similarly accomplished (from a profitability angle anyway) with Maleficent. However, The Lion King, Aladdin, and Dumbo have all recently mined the live action remake idea. I admit it is with much cynicism when I say the raison dêtre for all of these interpretations is business first. The art (hopefully) will follow. I still contend their 2015 masterful achievement Cinderella is the gold standard. Cruella is nowhere near that level, but it’s too beautiful to be a train wreck.

Some people are evil because they are born that way. In the cartoon, the character was driven by selfish greed — a refreshingly simple idea that needed no explanation. Nevertheless, the screenwriters here do not share that point of view. They seek to expand on why Cruella de Vil is the way she is. The protagonist is conflicted by two sides of a dual personality. Her mother Catherine (Emily Beecham) notices this in her daughter. There’s nice girl Estella but that only gets her so far. Hence why she creates the Cruella persona. She’s not really bad. It’s all an act. Cruella doesn’t smoke. Nor does she want to skin puppies. She doesn’t even wear furs. Sheesh! How did this nice girl become the Cruella de Vil we know?

This origin tale is hampered by unnecessary plot threads in a convoluted 134-minute backstory. The pile of unresolved details is a snooze fest. I’d excise the first 30 minutes at least. A better more efficient movie would have begun when Estella is employed by the Baroness. Estella first arrives in London as an orphaned child of the late 60s. It’s at this time that Cruella meets two delinquents who will become her cohorts. Paul Walter Hauser and Joel Fry will play Horace and Jasper respectively as adults. Cruella cobbles her childhood from the iconography of Oliver Twist and Little Orphan Annie. Sadly Cruella doesn’t come close to the beloved musicals inspired by those works.

Cruella isn’t a musical, although it does feature a lot of music. Director Craig Gillespie (Lars and the Real Girl, I, Tonya) appropriates 33 songs (yes 33 I looked it up) mostly from the 60s and 70s that emphasize the image on the screen. From Nina Simone’s “Feeling Good” and Nancy Sinatra singing “These Boots Are Made for Walkin'” to Blondie’s “One Way or Another” or “She’s a Rainbow” by The Rolling Stones – the song selections are overused needle drops you’ve heard a million times before. The musical cues are so on the nose they are more likely to inspire eye-rolls than admiration.

Cruella is another case of “too many cooks.” The saga has five credited writers: Dana Fox (What Happens in Vegas) and Tony McNamara (The Favourite) from a story by Kelly Marcel, Steve Zissis, and most tellingly — Aline Brosh McKenna who wrote The Devil Wears Prada. At its core, Cruella reveals itself to be just a remix of that classic. A bad screenplay is a mortal sin in the world of filmmaking. Despite this most major transgression, I did not hate this.

The film delivers in several key areas that kept me enrapt. As a showcase for an opulent parade of gorgeous fashions it flourishes. Occasionally costume design can elevate an entire production. Eiko Ishioka (Bram Stoker’s Dracula, Mirror Mirror) could do this. So can Jenny Beavan (A Room with a View, Mad Max: Fury Road). The costumes are the movie. She’s been nominated 10 times (2 Oscar wins) and her work here deserves an eleventh. At the Baroness’ Black and White Ball, Cruella arrives covered in a white cape that goes up in flames to reveal a vintage red dress. Cruella manages to steal from…er uh excuse me…pay homage to pop-culture history and the career of Vivienne Westwood. It presents the hero as an aspiring fashion designer with a punk style that usurps her boss.

Cruella is a mixed bag. The performances are satisfying even when the writing is not. Emma Stone’s manic energy is captivating. Her boss is Baroness von Hellman. Emma Thompson is doing a riff on Meryl Streep’s Miranda Priestly. Thompson is exquisite. She looks and acts the part. The Baroness affects a dismissive attitude. However, her appetite for delivering disparaging remarks isn’t as beautifully realized. She tries. Oh, how she tries! Unfortunately, her words aren’t as clever. It is her physical embodiment of the role where the comedy succeeds. The Baroness’ lack of concern when she pops a champagne cork into a poor waiter’s eye gets the biggest laugh. Furthermore, it never fails visually. Come and gorge on the opulence. Hey, if you can’t feel good, at least look good.

06-01-21