Playing Catch-Up: Zootopia (dir by Byron Howard and Rich Moore)


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Speaking of animated films…

I finally got a chance to watch Zootopia last night and oh my God, what a sweet and wonderful little film it turned out to be!

Zootopia is an animated film from Disney and it started out with a premise that sounds very Disney-like.  Zootopia takes place in a world where there are no humans.  Instead, animals walk and talk and scheme and plan and joke and dance and … well, basically, do everything that humans do.  Except they’re a lot cuter when they do it because they’re talking animals.

Judy Hopps (voiced by Gennifer Goodwin) is a rabbit who happens to be an incurable optimist.  (We should all try to be more like Judy.)  Even when she was growing up on the farm, Judy knew that she would someday move to the sprawling metropolis of Zootopia and become the first rabbit on the city’s police force.  When she finally does graduate from the police academy, Judy gets a lot of attention as a trailblazer.  But she quickly discovers that she’s only been hired to be a token, a political tool to help the city’s mayor, a blowhard of a lion named Lionheart (J.K. Simmons, voice the role that he was born to voice), win reelection.

See, Zootopia may look like a wonderful place to live but, as quickly becomes apparent, it’s a city in which the peace is very tenous.  Animals that are traditionally prey — like Judy and her fellow rabbits — may live with the predators but they certainly don’t trust them.  And the predators may not eat the prey but they certainly don’t respect them.  Underneath the cute face of every talking animal, there lies prejudice and resentment.  Lionheart is a predator who needs the votes of prey to remain in office.  What better way to win their trust then to make Judy Hopps a police officer?

Judy may be a member of the police force but that doesn’t mean that she’s going to be allowed to actually do anything.  While every other member of the force gets an exciting assignment, Judy is assigned to traffic duty.

However, an otter has recently vanished.  He’s just the latest of 14 predators to vanish in the city.  With the help of seemingly sympathetic deputy mayor, Judy gets herself assigned to the case.  But there’s a catch.  She has 48 hours to find the otter.  If she doesn’t find that otter, she’ll resign from the force and go back to the farm.

Luckily, Judy is not working alone.  She knows that the last animal known to have seen the otter is a fox named Nick Wilde (Jason Bateman).  Nick’s a bit of a con artist and, as a predator, he wants nothing to do with Judy and she doesn’t quite trust him.  But, events — which I’m not going to spoil here — force them to work together and uncover the darkest secrets of life in Zootopia…

If Zootopia sounds cute, that’s because it is.  It’s perhaps one of the most adorable films that I’ve ever seen, full of wonderful animation and memorable characters.  But, at the same time, there’s a very serious theme running through Zootopia.  Zootopia is about more than just talking animals.  It’s a film about prejudice, racism, sexism, and intolerance.  It’s a film that invites us to not only laugh but also to reconsider the world around us.

Zootopia is currently on Netflix and, if you haven’t seen it yet, I highly recommend it.  It’s great for children and adults.

Playing Catch-Up: Sausage Party (dir by Conrad Vernon and Greg Tiernan)


Sausage Party opens with a scene that could have come straight for a heart-warming Pixar film.  It’s morning and, in a gigantic grocery store called Shopwell’s, all of the grocery items are excited about the start of a new day.  The hot dogs are singing.  The buns are harmonizing.  The produce is bragging about how fresh they are.  Everyone is hoping that this will be the day that they are selected to leave the aisles of Shopwell’s and that they’ll be taken to the Great Beyond.  At Shopwell’s, shoppers are viewed as being Gods and being selected by a God means…

…well, no one is quite sure what it means but everyone’s sure that it has to be something good.  Surely, the Great Beyond couldn’t be something terrible, right?  At least, that’s what everyone assumes until a previously purchased jar of Honey Mustard returns to the store and tells a hot dog named Frank (voiced by Seth Rogen, who also co-wrote the film) that the Great Beyond is a lie.  The Great Beyond is not a paradise.  Instead, it’s something terrible.  Before Honey Mustard can be persuaded to give more details, it leaps off the shelf, choosing suicide over being restocked.

What could it all mean?  Well, there’s not too much time to worry about that because, even as Honey Mustard is committing suicide, a customer is selecting both Frank and Frank’s girlfriend, a bun named Brenda (Kristin Wiig).  They’re going to the Great Beyond together!  Yay!  Except…

…calamity!  A shopping cart collision leads to both Frank and Brenda being thrown to the floor.  While their friends are taken to the Great Beyond, Frank and Brenda are left to wander the store.  It turns out that Shopwell’s really comes alive after the lights go down and the doors are locked.  All of the grocery items leave their shelves and have one big party.  Frank seeks answers about the Great Beyond from a bottle of liquor named Firewater (Bill Hader).  Firewater has all the answers but you need to be stoned to truly understand.  This is a Seth Rogen movie, after all.  Meanwhile…

…Frank’s friends, the ones who survived the earlier cart collision, are discovering that the Great Beyond is not what they thought it was…

I apologize for all the ellipses but Sausage Party is the kind of movie that warrants them.  This is a rambling, occasionally uneven, and often hilariously funny little movie.  (I know that there were allegations that the film’s animators were treated horribly.  That’s sad to hear, not least because they did a truly wonderful job.)  Sausage Party was perhaps the ultimate stoner film of 2016, a comedy with a deeply philosophical bent that plays out with a logic that feels both random and calculated at the same time.

(If you’ve ever had the three-in-the-morning conversation about “What if our entire universe is just a speck of dust in a bigger universe?”, you’ll immediately understand what Sausage Party is trying to say.)

It’s also an amazingly profane little movie but again, that’s a huge reason why it works.  Yes, a lot of the humor is juvenile and hit-and-miss.  (I cringed whenever the film’s nominal villain, a douche voiced by Nick Kroll, showed up.)  But for every joke that misses, there’s a joke that works perfectly.  Interestingly, for all the silliness that’s inherent in the idea of making a film about talking grocery items, there’s a strain a very real melancholy running through Sausage Party.  Sausage Party may be a dumb comedy but that doesn’t mean that it doesn’t have a lot on its mind.

Since it’s a Seth Rogen film, the cast is full of familiar voices.  Yes, James Franco can be heard.  So can Paul Rudd, Danny McBride, Salma Hayek, Edward Norton, Jonah Hill, and Craig Robinson.  They all sound great, bringing vibrant life to the film’s collection of consumables and condiments.

Sausage Party.  After watching it, it’s possible you’ll never eat another hot dog.

A Movie A Day #22: Messenger of Death (1988, directed by J. Lee Thompson)


messenger_of_deathIn rural Colorado, the three wives and all the children of Orville Beecham (Charlie Dierkop) have been murdered.  Veteran journalist Garret Smith (Charles Bronson) discovers that Orville is the son of an excommunicated Mormon fundamentalist named Willis Beecham (Jeff Corey).  Willis, who lives on a heavily armed compound, practices polygamy and wants nothing to do with the outside world.  However, Willis’s brother, Zenas (John Ireland), long ago split with Willis and set up a compound of his own.  At first, Garret suspects that Orville’s family was killed by Zenas.  As Zenas and Willis go to war, Garret discovers that there’s actually a bigger conspiracy at work, one dealing with corporate greed and water rights.  (Forget it, Bronson, it’s Chinatown.)

Messenger of Death was the 2nd to last film that veteran tough guy Charles Bronson made for Cannon Films.  Especially when compared to the other films that he made for Cannon (10 To Midnight, Kinjite, Murphy’s Law, three Death Wish sequels), Messenger of Death features Bronson in a surprisingly cerebral role.  While there is violence, very little of it is actually the result of anything that Bronson does.  For once, Charles Bronson isn’t running around with a gun and blowing away bad guys. If Death Wish‘s Paul Kersey ever did start blowing away muggers in Colorado, Garret would probably be the first to condemn him in a carefully written editorial.  The only time he fights is in self-defense and even then, it’s hand-to-hand combat.  Instead, he spends most of the film doing research and asking questions.  As a result, Messenger of Death is never as much fun as the other films that Bronson made for Cannon but it’s still interesting to see him playing a regular guy.

A Movie A Day #21: A Case of Libel (1983, directed by Eric Till)


a-case-for-libelIn the 1950s, at the height of the McCarthy era, no one is more feared than Boyd Bendix (Daniel J. Travanti), an acerbic, right-wing gossip columnist.  Anyone who crosses Bendix the wrong way runs the risk of being accused of everything from sexual deviancy to communism.  Bendix’s latest victim is prominent journalist named Dennis Corcoran (Gordon Pinset).  Unlike everyone else who has been bullied by Bendix, Corcoran refuses to quietly submit.  Working with a gruff but brilliant attorney, Robert Sloane (Ed Asner), Corcoran takes Bendix to court.

A Case of Libel was made for Showtime and it is very much the type of movie that was made for teachers to show in classrooms full of aspiring Clarence Darrows.  Adapted from a Broadway play, A Case of Libel is also based on the true story of a successful lawsuit that was brought against columnist Westbrook Pegler in 1955.  A Case of Libel is basically a filmed play but is memorable for the performances of Ed Asner and especially Daniel J. Travanti.

A Case of Libel is a movie that I used to rent, on VHS, from my local video store when I was just starting to get interested in politics.  Because it was a cheap production on a cheap tape, the picture always looked terrible but I still enjoyed it.  Despite what the picture above claims, it’s never gotten an official DVD release and it probably never will be since there’s not a huge demand for old Ed Asner/Daniel J. Travanti courtroom dramas.  If it ever does come out on DVD, I’ll buy it.

Cheers for THE LAST AMERICAN HERO (20th Century Fox 1973)


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The world of NASCAR racing takes center stage in THE LAST AMERICAN HERO, a fictionalized biopic of legendary driver Junior Johnson. But this isn’t just a film about stock cars; it’s an extraordinary character study of a young man from the backwoods of North Carolina who discovers himself and what’s important to him. Jeff Bridges is outstanding in his first full-fledged starring role, demonstrating at age 24 the acting chops that have carried him to a long and prosperous film career.

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Junior Jackson hauls moonshine for his Daddy on the winding backroads of  the Carolina hills, his tactics eluding the cops at every turn. He’s cocky and confident, and pisses the local law off so much they bust up Daddy’s still and send him back to prison. Junior decides to use his only marketable skill to raise money for the family while Daddy’s away – driving. He enters a demolition derby…

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A Movie A Day #20: First Family (1980, directed by Buck Henry)


first-familyLike any newly inaugurated President, Manfred Link (Bob Newhart) faces many new challenges.  The biggest challenge, though, is keeping control of his family and his White House staff.  His wife (Madeline Kahn) is an alcoholic.  His 28 year-old daughter (Gilda Radner) is so desperate to finally lose her virginity that she is constantly trying to sneak out of the White House.  General Dumpson (Rip Torn) wants to start a war.  Press Secretary Bunthorne (Richard Benjamin), Ambassador Spender (Harvey Korman), and Presidential Assistant Feebleman (Fred Willard) struggle and often fail to convince everyone that all is well.

President Link needs to form an alliance with the African country of Upper Gorm, a country that speaks a language that only one man in America, Prof. Alexaner Grade (Austin Pendleton), can understand.  The President of Upper Gorm (John Hancock) orders that the kidnapping of Link’s daughter.  Holding her hostage, he demands that Link send him several white Americans so that the citizens of Upper Gorm can know what it is like to have a minority to oppress.

First Family not only featured a cast of comedy all-stars but it was also directed by one of the funniest men in history, Buck Henry.  So, why isn’t First Family funnier?  There are a few amusing scenes and Newhart can make a pause hilarious but, for the most part, First Family feels like an episode from one of Saturday Night Live‘s lesser seasons.  Reportedly, Henry’s first cut of First Family tested badly and Warner Bros. demanded that certain scenes, including the ending, be reshot.  Perhaps that explains why First Family feels more like a sitcom than a satire conceived by the man who wrote the script for The Graduate and whose off-center perspective made him one of the most popular hosts during Saturday Night Live‘s first five seasons.  Famously, during one SNL hosting gig, Henry’s head was accidentally sliced open by John Belushi’s samurai sword.  Without missing a beat, Henry finished up the sketch and performed the rest of the show with a band-aid prominently displayed on his forehead.  Unfortunately, there’s little sign of that Buck Henry in First Family.

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A Movie A Day #19: Kill Me Again (1989, directed by John Dahl)


killmeagainFay Forrest (Joanne Whalley) and her boyfriend, Vince Miller (Michael Madsen), make their living stealing from the mob.  After their latest job results in the death of a made man, Fay decides that she needs to escape from the abusive Vince.  She runs away to Las Vegas, where she looks up a small-time, financially strapped P.I., Jack Andrews (Val Kilmer).  She hires Jack to help her fake her death, offering to pay him $5,000 upfront and $5,000 after she’s dead.  Jack is reluctant to get involved but he also has a loan shark threatening to break every bone in his body.  Jack helps Fay fake her death but then Fay leaves town without paying him the second $5,000.  Even worse, both Vince and the mob quickly figure out that Fay is not actually dead and join Jack in trying to track her down.

Predictable but entertaining, Kill Me Again is an early example of the type of modern neo-noir that would become extremely popular in the 1990s.  In his directorial debut, John Dahl shows some hints of the style that he later brought to films like Red Rock West and The Last Seduction.  Val Kilmer was miscast and a few years too young for his role but Joanne Whalley (or Joanne Whalley-Kilmer as she was known when Kill Me Again was filmed) fully inhabitanted the stock role of the sultry femme fatale who can never quite be trusted.  Michael Madsen goes all out as Vince, giving an early version of his performance in Reservoir Dogs.

 

Quench the Devil’s Thirst: Robert Mitchum in THUNDER ROAD (United Artists 1958)


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Robert Mitchum  puts the pedal to the metal as a moonshine runner at odds with both the Feds and gangsters in THUNDER ROAD. This is Mitchum’s most personal picture, not only starring but producing, writing the story (and two songs!), and, rumor has it, doing much of the directing. His notorious independent streak comes through in his character Luke Doolin, a Korean War vet who believes in the right of individual ownership, whether on his land or in his car, and free market enterprise, without interference from outsiders or the government. That’s right, Luke Doolin is a true Libertarian hero!

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He’s also the best damn driver in River Valley, Kentucky, as we see in the opening scene, speeding down the backroads, eluding police with the greatest of ease. The Doolins have been making moonshine for generations, with daddy Vernon running the still, baby brother Robin the family mechanic, and mama Sarah praying for…

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Playing Catch-Up: Popstar: Never Stop Never Stopping (dir by Akiva Schaffer and Jorma Taccone)


Have you heard of Conner4Real?

If you haven’t, you’re probably just old or else you don’t keep up with what’s happening in the world of popular music.  His real name is Conner Friel and he used to be a member of the Style Boyz.  Of course, the Style Boyz eventually broke up.  Kid Brain became a farmer.  Kid Contact became a DJ.  And Kid Conner — well, he became Conner4Real and he became a bigger star as a solo artist than he ever was as a Style Boy.  His debut album, Thriller, Also, broke records.

But the follow-up, Connquest … well, Connquest wasn’t quite as acclaimed.  In fact, it was hated by just about everyone.  This is despite featuring classic songs like:

Finest Girl (Bin Laden Song)

Mona Lisa

and Equal Rights (featuring P!nk).

Fortunately, when Conner4Real was facing his greatest existential crisis, a film crew was present to record his struggle.  For those of us who were fascinated by the career of Conner4Real, Popstar: Never Stop Never Stopping is a chance to see how Conner dealt with everything from his terminally ill pet turtle to the elaborate marriage proposal ceremony that led to Seal being attacked by wild wolves.  We would have gotten to see Conner and his manager defeat a swarm of mutant bees but, unfortunately, that happened right after the only time that Conner’s manager asked the film crew to stop filming.

Oh well, these things happen.

So, as you should have guessed from all that, Popstar is not a serious film.  It’s a mockumentary, with the emphasis on mock.  It was also one of the funniest films of 2016, a spot-on parody of the silliness and pretensions of fame.  Conner is a combination of Justin Bieber and Macklemore at their shallowest, a well-meaning but thoroughly empty-headed singer.  In fact, if Conner was played by anyone other than Andy Samberg, he would be so annoying that the film would run the risk of being unwatchable.

But fortunately, Conner is played by Andy Samberg.  It’s hard to think of anyone who plays dumb with quite the same panache as Andy Samberg does.  There are plenty of lines in Popstar that shouldn’t work but they do, specifically because they’re being delivered by Samberg.  He brings just the right amount of sweetly sincere stupidity to the role.  Almost despite yourself, you find yourself hoping that things will work out for Conner and the other Style Boyz.  Conner may not deserve to be as big a star as he is but it was obviously going to happen to some idiot so why not a sincere one?

Samberg is not the only funny person in Popstar.  The movie is full of funny people, from Sarah Silverman to Bill Hader to the always underrated Tim Meadows.  It’s also full of celebrity cameos and I have to admit that I usually tend to cringe when I see too many people playing themselves.  But in Popstar, it works.  One need only rewatch something like Zoolander 2 to see how well Popstar pulls off its celebrity cameos.

Sadly, as funny as Popstar was, it was also one of the biggest bombs of 2016.  (The trailer, it must be said, did not do the film justice.)  However, I expect that it will soon develop a strong cult following.  In a few years, we’ll get a sequel.  It probably won’t be as as good.

Oh well.  These things happen.

Playing Catch-Up: The Accountant, Carnage Park, The Choice, The Legend of Tarzan


Continuing my look back at the films of 2016, here are four mini-reviews of some films that really didn’t make enough of an impression to demand a full review.

The Accountant (dir by Gavin O’Connor)

2016 was a mixed year for Ben Affleck.  Batman v. Superman may have been a box office success but it was also such a critical disaster that it may have done more harm to Affleck’s legacy than good.  If nothing else, Affleck will spend the rest of his life being subjected to jokes about Martha.  While Ben’s younger brother has become an Oscar front runner as a result of his performance in Manchester By The Sea, Ben’s latest Oscar effort, Live By Night, has been released to critical scorn and audience indifference.

At the same time, Ben Affleck also gave perhaps his best performance ever in The Accountant.  Affleck plays an autistic accountant who exclusively works for criminals and who has been raised to be an expert in all forms of self-defense.  The film’s plot is overly complicated and director Gavin O’Connor struggles to maintain a consistent tone but Affleck gives a really great performance and Anna Kendrick reminds audiences that she’s capable of more than just starring in the Pitch Perfect franchise.

Carnage Park (dir by Mickey Keating)

I really wanted to like Carnage Park, because it was specifically advertised as being an homage to the grindhouse films of the 1970s and y’all know how much I love those!  Ashley Bell plays a woman who gets kidnapped twice, once by two bank robbers and then by a psycho named Wyatt (Pat Healy).  Healy chases Bell through the desert, hunting her Most Dangerous Game-style.  There are some intense scenes and both Bell and Healy are well-cast but, ultimately, it’s just kind of blah.

The Choice (dir by Ross Katz)

The Choice was last year’s Nicholas Sparks adaptation.  It came out, as all Nichols Sparks adaptations do, just in time for Valentine’s Day and it got reviews that were so negative that a lot of people will never admit that they actually saw it.  Benjamin Walker and Teresa Palmer play two people who meet, fall in love, and marry in North Carolina.  But then Palmer is in a car accident, ends up in a coma, and Walker has to decide whether or not to turn off the life support.

As I said, The Choice got terrible reviews and it’s certainly not subtle movie but it’s actually better than a lot of films adapted from the work of Nicholas Sparks.  Walker and Palmer are a likable couple and, at the very least, The Choice deserves some credit for having the courage not to embrace the currently trendy cause of euthanasia.  That alone makes The Choice better than Me Before You.

The Legend of Tarzan (dir by David Yates)

Alexander Skarsgard looks good without his shirt on and Samuel L. Jackson is always a fun to watch and that’s really all that matters as far as The Legend of Tarzan is concerned.  It’s an enjoyable enough adventure film but you won’t remember much about it afterward.  Christoph Waltz is a good actor but he’s played so many villains that it’s hard to get excited over it anymore.