“Good Boys” — but who’s it “good” for?

A selling point…but would you take your preteen to this movie?

There must have been an untapped market for a raunchy sex comedy about 12-year old boys that I didn’t know about because Good Boys has made a ton of money at the box office. It’s odd to see a film that the young stars wouldn’t get to see, though I think it might be a film that parents would take their preteens to…but should they? I don’t generally think of myself as a prude and watching the trailer for this film, it’s easy to see that the filmmakers: writers and producers Seth RogenEvan Goldberg, and director Gene Stupnitsky felt it was comedy gold to show kids discussing drugs and sex. The film has just hit 72.5 million dollars in box office revenue so they must’ve been right.

Yes, there were moments I laughed out loud and the young actors Jacob Tremblay (so amazing in The Room), Keith L. WilliamsBrady Noon have a great chemistry together. The three young men, playing 12-yr-olds who’ve been friends since kindergarten, are talented. There are lots of scenes of them trying to navigate the middle school social structure of “cool kids” and nerds that are touching and ring true. It’s genuinely funny to hear Max (Jacob Tremblay) know just enough about a few things to be so completely wrong in his understanding of them – like the word nymphomaniac.

I applaud the originality of the film and the sweet heart at the center of the film; the boy’s friendship. Each boy has a distinct personality — from a talent for singing, a love of gaming, to our young lothario’s blossoming libido. Now if only the filmmakers had toned down a few of the overtly sexual references. The sequence showcasing Max’s string of crushes is cute. But is there anyone who believes that a boy would give the girl of his dreams a “necklace” of anal beads that stills smells like it’s been used for the intended purpose? Or that kids savvy enough to Google porn would not know what a dildo is?

Young dudes with a drone

It’s a movie and all of this is played for laughs. As with many films, it doesn’t bear thinking too hard about it. Spoiler alert: that the boys could be responsible for a car crash on the highway, suffer a dislocated shoulder, give a container of Molly to a cop, breakup a frat house hazing, and the only thing they get in trouble for is accidentally smashing some knickknacks with a drone. Really?! All of that I can let go, but the many instance of fake crying and wielding sex toys as weapons (or gifts); now that took me right out of the film. I’m all for being sex positive and kids know a lot more than adults give them credit for, but I’m not sure we needed a Super Bad with kids.

Drinks with Films rating: 2 sips of beer (out of five)

46th Telluride Film Festival — Racing thru Four Days of Films

A gathering of the luminaries at the 2019 Telluride Film Festival

Film Festivals have their own zeitgeist. Cannes has glamour, Sundance has snow and celebrities, and Telluride has a mountain top cathedral for film aficionados. Programmers fight to have films premiere at their festival and attracting celebrities is very important. Film guests sell tickets but also create a buzz at the event. Some festivals like the Mill Valley Film Festival and the Telluride Film Festival have less work to do to attract the big names — both events are in beautiful places and more importantly, attract fans that will allow filmmakers and stars to walk the streets sans bodyguards and publicists.

This year’s Telluride Film Festival was graced with the presence of such luminaries as Martin Scorsese, Adam Driver, Philip Kaufman, Bong Joon-ho, Edward Norton, and Renee Zellweger. Long-time Festival favorites, Werner Herzog and Ken Burns brought new works to the Festival and first-time festival attendees like Antonio Banderas (Pain and Glory) professed their love for the magic of Telluride. Programming was strong. There weren’t as many thought-provoking or life-affirming features as in years past but there was certainly a breadth of subjects covered. From Imelda Marcos (The Kingmaker) to Oliver Sacks (Oliver Sacks: His Own Life) to sports (cycling, soccer, Australian football, race cars) and hot air balloons (The Aeronauts); from portrait painting (Portrait of a Lady on Fire) to art forgery (Lyrebird).

What was interesting was to hear how many film lovers either LOVED or HATED some of the films. Everyone was excited to see the Hollywood films: Ford v Ferrari, Judy, Marriage Story and Motherless Brooklyn but the more offbeat Uncut Gems? Even with the selling point of having Adam Sandler there for a lively Q & A, Uncut Gems warranted a lot of walk outs. Directors Josh and Bennie Safdie tapped Oneohtrix Point Never who also scored their 2017 film Good Time; both films feature a frenetic soundtrack. Sound and scores were an important part of the the film experience this year and Uncut Gems soundtrack was a cacophany that may have reflected the character’s state of mind — but it was difficult to endure.

There were 30 main film programs, three tributes, shorts programs, retrospectives and outdoor screenings. Guest Director Pico Iyer selected five International film highlighting women in film. With this year’s focus on sound, there was a tribute to Dolby Laboratories, two silent films and many films about musicians. Ken Burns unveiled his series on Country Music, documentaries included Billie (Billie Holiday), Amazing Grace (Aretha Franklin), Linda Ronstadt: The Sound of My Voice, Tex Mex music (Chulas Fronteras) and The Gift: The Journey of Johnny Cash. Two themes were evident in the 2019 program — music, there were some unusual scores this year — and long screening times. Of the 30 main film programs, 20 were at or over 2 hours.

Waves, 2019 — A24

One of the longer films that was also divisive is Waves. I spoke to people who walked out, a few people who ranked it as a favorite, and others who felt it was trite and the soundtrack annoying. Trey Edward Shultz (It Comes at Night, Krisha) uses a few unusual filmmaking techniques to put the audience in the mindset of the characters. Not everyone was a fan of the spinning Go Pro shots in the car (used repeatedly) or the full-screen color waves to represent emotions. The soundtrack also acts like a character in the film. It’s a hard-driving mix of hip hop and rap by Trent Reznor‎ and ‎Atticus Ross and while the characters are listening and singing to music, the soundtrack is playing something different for us. It was jarring at first and like the color blocks on the screen, took some adjusting to.

Taylor Russell plays the daughter in Waves

A tragedy told from two focal points, the acting is strong particularly from the two young actors Kelvin Harrison Jr. and especially Taylor Russell as the young woman who transforms from a background player who’s withdrawn, to the focus of the narrative. Waves is getting a lot of critical acclaim and though I felt it had some beautiful moments, a little judicial trimming would’ve gone a long way to transforming the film.

Working the festival as a Volunteer (love the Sheridan Opera House crew!), there were many films I didn’t get the opportunity to see. So I’m thankful for the After Festival screenings and happy that I had to opportunity to catch Parasite and The Two Popes. Thank you Telluride Film Festival. What a gem of a festival!

Smash, Crash, Zoom — “Hobbs and Shaw” is a fun action film

Burdened with a long title and high expectations from fans of the franchise, Fast & Furious Presents: Hobbs & Shaw is surprisingly entertaining. If you haven’t watched any of the films in the series, you can still enjoy this one. There isn’t a lot of backstory from the other films you need to know and if you didn’t know that there was a rivalry between the two main characters, it’s set-up for you right away. I love what writer @tensecondsfromnow wrote in his review: Fast and Furious is largely about the toys, but there need to be men to drive them, and with Paul Walker’s demise, these men must be bald and middle aged.

Once it’s established that our two leads, played by The Rock (Dwayne Johnson) as a lovable muscled giant and the suave Jason Statham, who’s lovely British accent made me forget that yes, he IS indeed bald…are different but can both get the job done–the movie kicks into gear and doesn’t stop. If you’re expecting the trademark action set pieces of one person jumping from a speeding vehicle into another one, a motorcycle vs car chase, and a bunch of ridiculously large trucks fighting helicopters and other vehicles…this films got it.

What I liked about this film and the series, is the focus on the importance of family. Both leads have discussions with their Moms and their opinions influence the arc of the story. It’s refreshing to see an action movie where all the women are given power and allowed the agency to control the action. The women don’t follow the men nor are they playing the damsel-in-distress. Vanessa Kirby is Hattie, an action hero in her own right and Hobbs (Dwayne Johnson) tells Shaw (Jason Stratham) that she’s “bad ass”. She even gets her own catch phrase, “how long have you worked here?” that has amusing consequences.

Dame Helen Mirren has a small role as Shaw and Hattie’s mum and even in prison, she appears in control of the situation. She playfully gets out of her chains and drops them in the guard’s hands. Mexican actress and singer, Eiza González, in a small role as an arms dealer, may be a love interest for Shaw but she’s the boss of a full crew of talented women. She’s the one who has both the intel and specialized equipment to deploy on their mission.

Idris Elba is a wonderful conflicted baddie…rebuilt by an evil corporation; his character believes he’s the future of mankind. The moral conflict behind his eyes tells the audience that it’s dawning on him that he might be on the side of evil but he’s beyond committed to his path. The fighting is mostly bloodless–a ballet of bullets and flying bodies, but the battle fought without guns is ironically, the most brutal. It’s also the low-tech solutions that save the good guys in the final battle and they’re medieval and imaginative. I could’ve done without the intrusion of the smirky Ryan Reynolds’ character who seemed to be in another movie. If you’re looking for a high-speed action film that has a heart and some laughs, I think you’ll be pleased with Hobbs and Shaw.

Drinks with Films rating: 3 1/2 glasses of good bourbon served in cut glass tumblers (out of 5)

Once Upon a Time in…Tarantino-land

Quentin Tarantino has a recognizable filmmaking style. A Tarantino film is sure to feature certain actors that he works with regularly like Kirk Douglas or Michael Madsen, quirky conversations in cars, a cool retro setting and violence…lots of graphic violence. Once Upon A Time in…Hollywood has all of that and a talented cast. The story centers around a well-known television actor, Rick Dalton (Leonardo DiCaprio), who’s career in Westerns is coming to an end and his sidekick and stunt double, Cliff Booth (Brad Pitt). The setting is 1969 Hollywood in the months leading up to the Manson Family Murders and the scenario is the interactions the two have with each other and with the people they come in contact with — day-to-day life for a television actor and his aide-de-camp.

Leonardo DiCaprio and Brad Pitt have a wonderful chemistry. Watching DiCaprio struggling to give an honest performance that impresses his young co-star walks the line between exaggerated and comical to genuinely moving. Brad Pitt is the straight man to DiCaprio’s emotional artist. This is the first film that I’ve seen that lets the actor look his age with close-ups of the lines on his face. He still looks fantastic with his shirt off and Pitt exudes an easy charm and warmth that’s sexy.

In his ninth film, Tarantino has finally let his foot fetish out to dance. Each character is introduced through their footwear. Rick Dalton confident in cowboy boots, Cliff Booth in moccasins, our young starlet Sharon Tate skips into the scene in white gogo boots and there are lots of bare feet for our hippy girls. It’s a quick way to establish the characters. Of course the actress would wear fashionable footwear and Pitt’s stunt double, who’s so chill and secure in his masculinity, can rock moccasins…but it seems out of character for Margot Robbie’s character to take off her boots and have bare feet in a movie theater. And maybe the young hippy chick, played by the luminous Margaret Qualley, would remove her sandals and prop her feet up on the dashboard of the car but it looks awkward and lasts too long in the shot.

There is a tension to the story as the characters go about their lives when the audience anticipates the horrific murders that will shatter their world. Tarantino plays with this tension having Kirk Douglas narrate the timeline on the night of the killings. But first there’s a lots of conversations and driving in cars and a trip to Italy and a new wife…some of it interesting, much of it feels like an excuse for Tarantino to get to create fake movie posters. Having established Sharon Tate as this lovely young woman, now pregnant, and her hip friends hanging out at their home, the tragedy of lost lives will be even greater. Tarantino plays with expectations and then delivers on the graphic violence he’s known for.

You can almost feel Tarantino’s glee at shooting an extended scene of young people being killed in such gruesome manner: close-ups of a dog crunching down on an arm, the dog dragging a body across the floor, a young woman getting her face smashed repeatedly into multiple surfaces and the grand finale of the flame thrower used to torch a still twitching murderous woman. For Tarantino fans, I think the violence is so over-the-top and gratuitous that it becomes comical. As someone who finds violence, especially against women and children, very upsetting — this was torture for me to watch.

If you’re a Tarantino fan, the two-hour running time will be just perfect. You can enjoy his imaginative camera moves and recreation of that time period with cameos by some talented actors. There are brilliant bits of dialogue and lots of cool cars to enjoy. If you’re squeamish over the violence, may I suggest you leave in the long set-up for the killers to make it up the driveway? You’ll have plenty of time to wander the lobby and return for a brief touching moment between Pitt and DiCaprio…and you won’t have to endure the brain scar from the violence.

Drinks with Films Rating: 2 blended margaritas served in retro margarita glasses (out of 5)

And Now For Something Completely…similar to the previous remake…

Did we need a remake of Aladdin?

I get it. You have little ones at home. Summer Camp is out. You’ve made so many trips to the ice cream place that you’re hoping you don’t have to put on a swimsuit again till next year. There are many families that will look forward to going to see the NEW Aladdin; a family film that can be enjoyed together. This might replace the worn out DVD at home and give someone in the family ideas for a Halloween costume. Dad and Mom might appreciate that the casting is more ethnically-appropriate and the animation is lovely. Everyone can enjoy the songs that are now so well-known. Directed by Guy Ritchie, I expected a more updated version of this tale from 1001 Arabian Nights. The story sticks pretty close to the 1992 version featuring Robin William’s Genie. Will Smith is a good replacement, there’s a Bollywood number and beautiful sets and Aladdin is a good end of summer film to enjoy.

If however, you’re itchin’ for Fall Films and something that’s a little more challenging or unique than this summer’s spat of sequels, superhero films and remakes…there’s hope for you. Director and Writer, Lulu Wang has already been winning accolades for her touching, personal film. The Farewell was nominated for the Grand Jury Prize at Sundance and the film won Audience Favorite. This delightful film, based on a true story, presents a Chinese family hiding the truth about the grandmother’s diagnosis. One of the most popular Indie Films of the summer and I’ll review it next week.

There are lots of great films released this summer that fit the bill as entertaining but also breaking the mold of the typical summer fare.  For a twist on the high school party film, see the female-centric comedy, Booksmart. The young stars are self-assured in their nerdiness and it’s a great portrait of true friendship even if it’s for mature teens with fumbling teen sex and crass language. If you’re an action film lover, I’d suggest Stuber, the fight scenes are funny, the actors, Kumail Nanjiani and Dave Bautista have great chemistry and though the plot is ludicrous the concept of an Uber driver fighting crime is original.

Looking for an unusual and lyrical take on San Francisco’s gentrification? A great cast was assembled to tell this tale of two men trying to find home and family. The Last Black Man in San Francisco is artfully-shot and directed. Local childhood friends, Joe Talbot and Jimmie Fails wrote this paean to SF and to male friendship. It’s a quiet film with an insider’s look at some thorny issues and I’m betting that it’ll win some awards. The NY Times published a “The Best Movies of 2019 So Far” list as have many other publications. Look for lists that don’t consist of blockbusters and Disney films and you’ll find many great films you may have missed. Many of these films are now available to stream and there are some new films and series for Fall Season on television now.

I’m looking forward to the Telluride Film Festival over the Labor Day Weekend. I often see some of my new favorite films of the year…that likely won’t be released till NEXT year. Oh Hollywood…

And Then the Credits Roll…

Do you sit through all the credits? Most fans of Fantasy/SciFi films do. This is particularly true of the films in the Marvel Comic Universe (MCU). Most of the films have a teaser, a cliffhanger, or introduce a character that will star in the next film. I like a little heads up from reviewers and friends if there’s a good reason to sit through a credit sequence. My particular favorite was a quick flash of the Avengers hanging out eating sandwiches; not a plot twist, just a fun moment of the Super Heroes relaxing. I have friends who won’t go see Spiderman: Far From Home because they haven’t seen Avengers Endgame. This newest, Jon Watts-directed Spiderman film happens AFTER the sequence of events in the Endgame film. So can you see this film if you missed the other film and should you wait for the last credit to roll?

First, you CAN see Spiderman: Far From Home if you haven’t seen Avengers Endgame but only if you at least know the general plot line of that film. If you’ve stayed away from reviews, don’t ever listen to teenagers talking and/or you live remotely with no WiFi–okay, maybe wait to see the re-release of that last film. It’s just eclipsed Avatar in dollars made at the box office (not counting Gone With The Wind). So you have your chance…

Second, stay for the mid-credit sequence if you’re a big fan of Spiderman films and for the second reveal at the very end if you like plot-twists and surprises. If you’re like me, wondering why the studio needs to keep reinventing this character…you can skip the wait. I enjoyed this version and find Tom Holland charming and Zendaya’s sarcastic take on Mary Jane refreshing. I’m also a fan of Jake Gyllenhaal, Jon Favreau, and Marisa Tomei, so I enjoyed seeing them on screen. The young actors who play the sweethearts of the film are a delight. And any film that wants to portray the Dutch as lovely people is A-OK in my book.

Was the plot silly? The action sequences too long? Did the characters act in ways that made little sense save to advance the plot? Well, of course! It’s a 2-hour film crammed with visits to other countries so that the “heroes” can wreak havoc to some recognizable landmarks. The excuses for there being no other Avengers available to help this teenage boy fight an International-World-Threatening-Villain are as lame as the chaperones sent on this high school trip. Yet if you endured the 3-hour Avengers Endgame and the dark, dark plots of that film and the one before it…this will be a relief. A light comic romp with some well-drawn characters. Not as enjoyable as the animated Into the Spiderverse, or half as clever…but a good bet that the MCU is back to having a little fun.

Drinks with Films Review: 3 cups of tea (out of 5), a tip of the hat to the London Bridge

Summer Films with a Great British Actor

Summer time. BBQs, watermelon, family reunions and hot summer nights. The perfect time to escape to the movies! This is not a time for a Czech drama or a brooding intellectual film about politics. This is a time for fun, for explosions, for comedy.

For Emma Thompson?!

British actress, Dame Emma Thompson is a two-time Oscar Winner. Thompson Is the only person to have won Academy awards for both acting and writing. She won Best Actress for Howards End (1992), and Best Adapted Screenplay for Sense and Sensibility (1995).

In the past, Thompson was known for her work with Kenneth Branagh. In the 90’s, they were the “It Couple” for brilliant Shakespeare films and intellectual relationship dramas. As Sir Kenneth’s star rose, he stepped out on Thompson and their marriage, and their films together ended. Emma Thompson went on to write the adaption of Sense and Sensibilities and starred in it with Kate Winslet. She also stars in two of my favorite films, Stranger Than Fiction and Howard’s End.

Recently she’s starred in two Nanny McPhee films and has written the TV adaptation of Margaret Edson‘s acclaimed play Wit (2001). She also starred in the movie and was nominated for a Golden Globe. Her awards page on IMDB takes an entire page!

So how did this acclaimed actress noted in Wikipedia as “often portrays enigmatic and matronly characters with a sense of wit, frequently in period dramas and literary adaptations” wind up featured in both the films opening this weekend at the Nugget Theater in Telluride, Colorado…kicking off the summer movie season?

Her role in MIB International is a bit part but a crucial role. She’s the much-admired Agent O, leader of the Men in Black London Division. She’s portrayed as a smart leader in a smart suit and Tessa Thompson (no relation), is the new agent that tells her, she wants IN. They both allude to how The Men in Black needs an update–Men and Women in Black? Sadly this franchise seems to have run out of steam. There are some fun moments but the banter between our two leads, Tessa Thompson and Chris Hemsworth was better in Thor Ragnarok.

Mindy Kaling wrote the starring role in Late Night specifically for Emma Thompson. We get to see two comedic actors/writers at the top of their game have fun in a summer dramedy. Mindy Kaling gets top billing but without the gravitas that Emma Thompson brings to the role, the comedy wouldn’t elicit the chuckles that it does. They make a great duo and film comes alive when they share the screen. Late Night could lose one of the subplots and been improved by a shorter run time. It’s witty and political and takes on sexism, ageism, nepotism and wraps it in a summer comedy package. That it stars two women, one of color and one of a “certain age” proves yet again…people will pay to see quality entertainment. We need more women starring (and writing and producing and directing) films!

Drinks with Films Rating:

2 Super Size Soft Drinks (out of 5), MIB International is bright and fast-paced and lacking any depth…but there are a few roles for women! Tessa Thompson and Rebecca Ferguson are nice additions. Emma Thompson’s wardrobe is brilliant.

3 glasses of fine wine (out of 5), Late Night runs a little long and tries to tackle one too many “isms”. The writing crackles and Mindy Kaling and Emma Thompson give performances that seem like heightened versions of themselves. Real and nuanced.