HOW TO LOSE FRIENDS AND ALIENATE PEOPLE (Dir. Robert B. Weide, 2008)
Ah, the art of the snark. In his blog not long ago, Roger Ebert wrote a brilliant breakdown of the current over-proliferation of snarking in the press (“Hunt not the Snark but the Snarker” – February 25th, 2009). After calling it “cultural vandalism” he chided writers such as Hollywood blogger Nikki Finke and LATimes reporter Patrick Goldstein for their cheap shots at the Oscars and he concluded gracefully, as Ebert is known to do, by quoting a Lewis Carroll poem. If the protagonist of this film, celebrity journalist Sidney Young, was a real person there’s no doubt Ebert would’ve singled him out too. For despite that Young is the creation (and alter ego of) paparazzi pundit Toby Young (from his book of the same name), as played by an in-your-face Simon Pegg he would be likely be one of the most unavoidable media masters of snark today.
After upsetting a posh party with a pig he claims is Babe from BABE 2, Pegg is hired by the editor of Sharp’s magazine (Jeff Bridges again in very un-Dude territory). Pegg and the magazine, based on Vanity Fair, are an uneasy fit as he insults everybody in sight especially an extremely miscast Kirsten Dunst who bases her entire performance on constant eye-rolls (oh, was that too snarky?). Pegg has 2 goals – to get ahead at the magazine no matter what it takes and to bed a model/starlet played by Megan Fox. He has to contend with Fox’s powerful publicist (Gillian Anderson) and an asshole boss (Danny Houston) as we have to contend with his unlikable unctuousness while the predictable plot goes through the motions.
This is the kind of film that doles out such beaten to death comic clichés as a transsexual that fools the leading man and a small dog getting crushed (see A FISH CALLED WANDA for how to deal with this better). Pegg, who can lift even a lightweight rom com like RUN FATBOY RUN above total mediocrity, here is helpless to save this material. Bridges sums up Pegg’s character’s sense of humor in their first interview scene as: “snarky, bitter, and witless.” That sums up the movie as well; it mistakes snarky for funny over and over again. But if the joke that Pegg wore a bright red t-shirt that said “young, dumb and full of come” to the interview makes you laugh then this might be the movie for you. As for me, this film lost and alienated me, but I know I’m probably the millionth snarky movie
blogger to say that.
FLASH OF GENIUS (Dir. Mark Abraham, 2008)
“You’ll never look at a windshield wiper the same way again” could be the tagline for this biopic of frustrated inventor Robert Kearns. Kearns, played with pluck and aplomb by Greg Kinnear (in non smarmy mode happily), developed an intermittent windshield wiper in the 60’s and took his idea to the Ford Motor Company. After studying his work they pass on paying him but use the method anyway causing him to sacrifice his marriage and sanity to fight for the credit. His wife (Lauren Graham) tries to be supportive, as do his 5 kids, but he goes off the deep end and has to be institutionalized – a point the movie stresses by opening with a bath robed frazzled Kinnear on a bus claiming he’s going to Washington D.C. by request of the Vice President.
There’s a big heart here but the obsessed man alienates the world around him to plead his life’s case formula is adhered to way too strictly. I knew nothing of the real life story here but because I’ve been schooled in the scenario, from Jimmy Stewart in MR. SMITH GOES TO WASHINGTON to Richard Dreyfuss in CLOSE ENCOUNTERS OF THE THIRD KIND, I knew exactly what to expect in terms of the plot-point highs and lows. But I bet most people would watch this and just know it’s going to end in a climatic court scene, you know? Still, it is an interesting story told well with solid performances by Kinnear, Graham, Dermot Mulroney as a subtle backstabbing colleague, and most notably Alan Alda as a crusty but suave lawyer who advices our hero to settle. FLASH OF GENIUS is an earnest and straight forward effort that will surely fall in line with other inventor-done-wrong-by-the-system biopic ilk (TUCKER, anybody?) some night in the future on The History Channel. Not exactly a ringing endorsement, I know, but it’s the best I can do for this fair film.
BOTTLE SHOCK (Dir. Randall Miller, 2008)
As another period piece true story that I was unaware of, (hey, that’s why they makes these movies!), this film delivers a case study of how California became a contender in the worldwide wine wars. Alan Rickman, in his best comfortably cagey demeanor, plays sommelier Steven Spurrier, who in 1976, traveled to Napa Valley to sample wines for a blind taste test against French wine. At the same time, a grizzled Bill Pulliman with a winery named Chateau Montelena is struggling with massive debts while he labors to make chardonnay. He’s also struggling with his long haired freewheeling son Bo (Chris Pine) and foreman Gustavo (Six Feet Under’s Freddy Rodriquez), who grew grow up with soil underneath his nails and the smell of the grapes in the air that he breathes (his words) and so has wine plans of his own. For the obligatory sex subplot there’s a blonde UC Davis graduate student (Rachel Taylor) who sleeps with both Pine and Rodriquez because, uh, the movie needed a sex subplot.
The best thing about this film is its cinematography. The film makers were obviously in love with the Napa Valley with many sweeping shots of the orchards bathed in luscious crisp sunlight. It gives SIDEWAYS a run for its money in that department for sure. There is a nice sprinkling of wit mostly coming from Rickman’s snotty character: “You think I’m an asshole, and I’m not really -it’s just that I’m British and you’re not” but I wouldn’t say this movie is really that funny. It’s a likable lark with some wine fun facts about fermentation even if doesn’t give as much color to its characters as its scenery. BOTTLE SHOCK moves no mountains and shakes no new ground, but, to borrow wine jargon, it goes down smooth and finishes well. It would be the perfect complement to a wine tasting party, even (or especially) with the sound turned down.
MY NAME IS BRUCE (Dir. Bruce Campbell, 2007)
“Getting you laid is hard enough without having to explain the whole Bruce Campbell factor” says one scruffy teenager (Logan Martin) to another (Taylor Sharpe) at the beginning of this low budget “comedy horror” (as Campbell himself calls it) film. This sarcastic kid taunts his friend by going through a stack of DVDs (for some reason he has in his car) reeling off their titles – “Death Of The Dead”, “Maniac Cop”, “Moonwarp”, “Man With The Screaming Brain”, “Alien Apolcalypse”, and so on – I seriously don’t know which of these is real or fake but I’ll get around to IMDbing it. Not being able to take his buddy’s abuse anymore, Sharpe hits the brakes screeching his vehicle to a halt and exclaims “Bruce Campbell is the greatest actor of his generation!” Martin replies: “Dude, forget thumbs, Ebert wouldn’t wipe his crack with this trash!” He does however concede “I kinda liked BUBBA HO TEP.” Sharpe: “*Everyone* liked BUBBA HO-TEP!” This is a nice self mocking intro to an entire movie of self mockery but if you haven’t seen EVIL DEAD (or any of its sequels) and had no idea who that odd square jawed guy was in small but vital parts of all 3 SPIDERMAN movies, then this movie wasn’t made for you.
It’s a movie for Bruce Campbell fans exclusively, made by a Bruce Campbell fan – namely Bruce Campbell. Like the in-joke precedent set by Ricky Gervais’ Extras, Campbell plays an exaggerated version of himself. He’s a heavy drinker that bitches at gofers on the set of a sci-fi cheapie named “Cavealiens” when his lemon water isn’t cold enough (actually its one literally pissed off gofer’s urine) and, of course, he has an ex-wife who he calls at 3:00AM from the floor of his back woods trailer. Yes, these are all obvious joke clichés about a “big ass, self obsessed movie star” (as wooden love interest Grace Thorsen says) but that’s the point you see. The premise is that a small town named Gold Lick (that’s right) is tormented by a Chinese war diety called Guan Di and they call upon Campbell to bring his zombie/vampire/alien/whatever fighting skills to defeat this demon. Yep, ¡THREE AMIGOS!, GALAXY QUEST, and more recently TROPIC THUNDER have done likewise actors-must-become-what-they-portray plots much better but here it’s just an excuse to make fun of a career full of schlock and bombast. I mean, as stupid as the residents of Gold Lick are, they don’t seem to think he’s anything but Bruce Campbell and his thinking its a movie shoot is pretty poorly handled as well.
Campbell quips through every scene with his unique brand of big chinned charm but unfortunately very few of his one-liners are funny – “You don’t know fear, kid. You’ve never worked with Sam Raimi” being one of the better ones if that says anything. As for the production, it’s about as cheap as one would expect with fades that give it a “made for TV” feel. To call this movie bad or even a turkey would surely be taken as a compliment by Campbell and crew because that’s what they were going for – a ‘so bad it’s good’ vibe, but as Enid in GHOST WORLD said: “it’s so bad it’s gone from good back to bad again.” Sure, it’s a straight to DVD for fanatics only throwaway and one that’s not without its charms but if you don’t appreciate Campbell or his oeuvre I doubt it’ll win you over. As the taunting kid quoted above said, BUBBA HO TEP is a better gateway to geekery * but the EVIL DEAD films are the most essential of Campbell’s filmography. One man’s trash is another man’s treasure indeed. Except here it’s the same man.
* With apologies to the Onion A.V. Club.
More later…
Going in to this movie I knew precious little about it. I hadn’t seen a trailer or even given the movie poster more than a passing glance. I only knew it was a Matt Damon/Paul Greengrass/war movie. But in the first five minutes I knew exactly where it was going to go.
21 Tattoo And Wallpaper Blog 