Film Review: Joy (dir by David O. Russell)


Hi there and welcome to 2016!

Today was the first day of a new year so, of course, I had to go down to the Alamo Drafthouse and see a movie.  What was the title of the first movie that I saw in a theater in 2016?


Despite the fact that Joy has gotten some seriously mixed reviews, I had high hopes when I sat down in the Alamo.  After all, Joy represents the third collaboration between director David O. Russell and one of my favorite actresses, Jennifer Lawrence.  (Their previous collaborations — Silver Linings Playbook and American Hustle — happen to be two of my favorite films of the past 5 years.)  Add to that, Joy has been advertised as being a tribute to a real-life, strong-willed woman and I figured that, at the very least, it would provide a nice alternative to the testosterone-crazed movies that I’ve recently sat through.  And finally, Joy had a great trailer!

Sure, there were a few less than positive signs about Joy.  As I mentioned before, the majority of the reviews had been mixed and the word of mouth was even worse.  (My friend, the sportswriter Jason Tarwater, used one word to describe the film to me: “Meh.”)  But what truly worried me was that Sasha Stone of AwardsDaily absolutely raved about the film on her site and that’s usually a bad sign.  Let’s not forget that this is the same Sasha Stone who claimed that Maps To The Stars was one of the best films ever made about Hollywood.

And, to be honest, I had much the same reaction to Joy that I had to Map To The Stars.  I really wanted to love Joy and, occasionally, there would be a clever bit of dialogue or an unexpected directorial choice and I would briefly perk up in my seat and think to myself, “Okay, this is the film that I wanted to see!”  But, for the most part, Joy is a disappointment.  It’s not so much that it’s bad as it’s just not particularly great.  For the most part, it’s just meh.

But let’s talk about what worked.  Overall, this may be one of Jennifer Lawrence’s lesser films but she gives a great performance, one that reminds us that she truly is one of the best actresses working today.  I’ve read some complaints that Lawrence was too young for the title role and, to be absolutely honest, she probably is.  She looks like she could easily go undercover at a high school and help Jonah Hill and Channing Tatum bust drug dealers.  But, at the same time, she projects the inner weariness of a survivor.  For lack of a better term, she has an old soul and it comes across in her films.

In Joy, she plays Joy Mangano, a divorced mother of two who lives in upstate New York.  Her mother (Virginia Madsen) lives with Joy and spends all of her time watching soap operas.  Joy ex-husband, a lounge singer named Tony (Edgar Ramirez), lives in the basement.  Meanwhile, her grandmother (Diane Ladd, who narrates the film) is always hovering in the background, offering Joy encouragement and optimism.  At the start of the film, Joy’s cantankerous father (Robert De Niro) has also moved into the house.  Joy, who was the valedictorian of her high school, has got a demeaning job working as a flight booker at the airport.

(“What’s your name?” one rude customer asks, “Joy?  You don’t seem very joyful to me…”)

How stressful is Joy’s life?  It’s so stressful that she has a reoccurring nightmare in which she’s trapped in her mother’s favorite soap opera and Susan Lucci (cleverly playing herself) tells her that she should just give up.

However, as difficult as life may get, Joy refuses to take Susan Lucci’s advise.  She invents a miraculous mop known as the miracle mop and eventually becomes a highly successful businesswoman.  Along the way, she makes her television debut on QVC and becomes a minor celebrity herself…

The film’s best scenes are the ones that deal with Joy and QVC.  These scenes, in which the inexperienced Joy proves herself to be a natural saleswoman, are the best in the film.  These scenes are filled with the spark that I was hoping would be present throughout the entire film.  Of course, it helps that these scenes also feature Bradley Cooper as a sympathetic television executive.  This is the third time that Bradley Cooper and Jennifer Lawrence have acted opposite each other and there’s an immediate chemistry between them.  In this case, it’s not a romantic chemistry (and one of the things that I did appreciate about Joy was that it didn’t try to force a predictable romance on the title character).  Instead, it’s the type of mutual respect that you rarely see between male and female characters in the movies.  It’s a lot of fun to watch, precisely because it is so real and unexpected.

But sadly, the QVC scenes only make up a relatively small part of Joy.  The rest of the film is something of a mess, with David O. Russell never settling on a consistent tone.  At times, Joy feels like a disorganized collection of themes from his previous films.  Just as in The Fighter and Silver Linings Playbook, we get the quirky and dysfunctional family.  Just as in American Hustle, we get the period detail, the Scorsese-lite soundtrack, and the moments of cynical humor.  There’s a lot going on in Joy and, at time, it doesn’t seem that Russell really knows what to do with all the theme and characters that he’s mixed into the movie.  I found myself wondering if he truly understood the story that he was trying to tell.

Finally, at the end of the film, Joy visits a business rival in Dallas, Texas.  Let’s just say that the film’s version of Dallas looks nothing like the city that I know.  (The minute that the scene cut from her ex-husband discovering that Joy had left to a close-up of a Bar-B-Q sign, I let out an exasperated, “Oh, come on!”)  I suppose I should be happy that Russell didn’t have huge mountains in the background of the Dallas scenes but seriously, would it have killed anyone to do a little research or maybe hop on a plane and spend a day or two filming on location?

(After all, if Richard Linklater or Wes Anderson decided to set a movie in David O. Russell’s home state of Massachusetts, I doubt that they would film the Boston scenes in El Paso….)

Joy features great work from Jennifer Lawrence and Bradley Cooper and it tells a story that has the potential to be very empowering.  But, when it comes to the overall film … meh.

Sorry Jen

25 Best, Worst, and Gems I Saw In 2015


Foodfight! (2012)

I saw quite a few movies last year. Around 700 of them, which were all new to me. These are the ground rules:

  1. There is no particular order to the films in these lists. They simply either made it or not.
  2. These are not necessarily films that came out in 2015. In fact, most didn’t. These are films that I saw for the first time in 2015.
  3. The gems list are films that don’t make the best list, but I want to put a spotlight on them.
  4. If there is a review on the site, mine or someone else’s, then I have linked to it.
  5. I saw way more awful things this year then any other kind of movie so I have tried to pick out the worst of the worst and the movies that still piss me off at this point.
  6. If you disagree with any of my choices. Good! I want people to form their own opinions and think for themselves. But if you care to share those opinions, then be nice about it, or you won’t receive a response from me. Also, if I don’t wish to discuss a particular film, such as Interstellar, then I will tell you. I won’t leave you hanging.
  7. That horribly animated character up top is voiced by Christopher Lloyd.


  1. Tomboy (2011)
  2. Ma Vie en Rose (1997)
  3. Show Me Love (1998)
  4. Blue Is The Warmest Color (2013)
  5. Jump In! (2007)
  6. Twin Peaks: Fire Walk with Me (1992)
  7. David Holzman’s Diary (1967)
  8. Hedwig and the Angry Inch (2001)
  9. Rebellion in Patagonia (1974)
  10. Emmanuelle Through Time: Emmanuelle’s Skin City (2012)
  11. 22 Jump Street (2014)
  12. Cobain: Montage of Heck (2015)
  13. All the Right Moves (1983)
  14. All the King’s Men (1949)
  15. A Single Man (2009)
  16. Boy Meets Girl (2014)
  17. Antboy (2013)
  18. Lead With Your Heart (2015)
  19. Mad Max: Fury Road (2015)
  20. R.L. Stine’s Monsterville: The Cabinet of Souls (2015)
  21. A Nightmare On Elm Street Part 2: Freddy’s Revenge (1985)
  22. First Blood (1982)
  23. Rocky II (1979)
  24. Turkish First Blood (1983)
  25. Turkish Mad Max (1983)


  1. God’s Not Dead (2014)
  2. Extreme Ops (2002)
  3. What Other Couples Do (2013)
  4. Let’s Be Cops (2014)
  5. Maps To The Stars (2014)
  6. Bikini Spring Break (2012)
  7. Camp Beaverton: Meet The Beavers (2013)
  8. Ricky 1 (1988)
  9. Bring Happiness Home (2013)
  10. Your Love Never Fails (2011)
  11. My Gal Sunday (2014)
  12. Strawberry Summer (2012)
  13. Nukie (1987)
  14. Freshman Father (2010)
  15. Leonard, Part 6 (1987)
  16. The Executioner, Part II (1984)
  17. Blood Hook (1986)
  18. A Country Wedding (2015)
  19. The Garbage Pail Kids Movie (1987)
  20. Agent Cody Banks 2: Destination London (2004)
  21. 3 Ninjas: High Noon at Mega Mountain (1998)
  22. Interstellar (2014)
  23. A Darker Fifty Shades: The Fetish Set (2015)
  24. Foodfight! (2012)
  25. Christmas Land (2015)


  1. Timer (2009)
  2. Mr. Angel (2013)
  3. The Twilight Girls (1957)
  4. Female Misbehavior (1992)
  5. Don’t Be A Menace To South Central While Drinking Your Juice In The Hood (1996)
  6. Rivers of Fire and Ice (1968)
  7. I Am Frigid…Why? (1972)
  8. Deathrow Gameshow (1987)
  9. 200 Motels (1971)
  10. Battling Amazons (1987)
  11. Super Christian (1980)
  12. Lady Terminator (1989)
  13. The Return of Superman (1979)
  14. Recipe For Love (2014)
  15. Love Under The Stars (2015)
  16. Audrey’s Rain (2003)
  17. Motel Hell (1980)
  18. Stuff Stephanie In The Incinerator (1989)
  19. The Monster Squad (1987)
  20. Chatterbox! (1977)
  21. Ninja Champion (1985)
  22. All of the movies with Pierre Kirby in them.
  23. Turkish Star Wars (1982)
  24. Return Of The Ewok (1982)
  25. The Curious Female (1970)

Paranoia Strikes Deep: INVASION OF THE BODY SNATCHERS (Allied Artists 1956; United Artists 1978)

cracked rear viewer


These two versions of INVASION OF THE BODY SNATCHERS have much in common. Both are visions of the paranoia of their times disguised in the veneer of science fiction. But while the 1956 film is an allegoric warning of the dangers of Communism, its 1978 remake focuses on conspiracy theory paranoia in the post-Watergate era. The films are equally good reflections of the times they were made, and the differences lie mainly in the visions of directors Don Siegel (’56) and Philip Kaufman (’78).

Siegel’s roots were planted firmly in the old studio system. He began his career at Warners, then RKO before moving onto to independent productions in the mid-50s. INVASION OF THE BODY SNATCHERS was made for Allied Artists (formerly known as Monogram, home of The Bowery Boys and Bela Lugosi quickies.) Siegel was well versed in working within budgetary constraints. Early films like PRIVATE HELL 36 and RIOT IN CELL BLOCK 11 were…

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