Film Review: Arkansas (dir by Clark Duke)


Oh, Arkansas.

As far as states go, Arkansas usually doesn’t get much respect.  In a country where much of the culture is dominated by city-dwelling secular liberals, Arkansas is a state the remains stubbornly rural, religious, and conservative.  If your grandparents were a state, they’d probably look a lot like Arkansas.  Arkansas is viewed as being old-fashioned and when it does make the news, it’s usually not for anything that anyone in the state particularly wants to brag about.  Democrats will always view Arkansas as being the home of Mike Huckabee.  Republicans will never forgive the state for springing the Clintons on the rest of the nation.  (Interestingly enough, Mike Huckabee and Bill Clinton both grew up in the same tiny town.)  Little Rock has gangs and government corruption.  Hot Springs has gamblers looking to hide out from the mob.  Fouke has the Boggy Creek Monster while Ft. Smith is best-known for having once been home to the hanging judge, Isaac Parker.  You get the idea.  When it comes to the way that the rest of the country views the state, it often seems as if poor Arkansas just can’t catch a break.

With all that in mind, I have to say that I really love Arkansas.  My paternal grandparents lived in Arkansas and I’ve still got relatives all over the state.  Arkansas was one of the many states where my family lived while I was growing up.  (The others were — deep breath — Texas, Oklahoma, New Mexico, Colorado, and Louisiana.)  We would stay in Arkansas for months at a time, depending on how well my mom and dad were getting along at the time.  It’s an unpretentious state, one that’s full of friendly, no-nonsense people and beautiful countryside.  I have a lot of good memories of Arkansas.  It’s always in the back of my mind that, wherever I’m living, I can always just go back to Arkansas and spend the rest of my life living in a small town with my cousins.  Of course, I’d probably end up miserable over the lack of movie theaters.  Whenever I’m living in the city, I find myself yearning for the simplicity and decency of the country.  Whenever I’m in the country, I find myself missing the excitement of the city.

The Natural State (as Arkansas is officially nicknamed) is not only the setting for some of my most cherished memories.  It’s also the setting for a film called, appropriately enough, Arkansas.  The directorial debut of actor Clark Duke, Arkansas tells the story of four very different men.  Kyle Ribb (Liam Hemsworth) is quiet and rather stoic.  Swin Horn (Clark Duke) is talkative, eccentric, and perhaps a bit too cocky for his own good.  They both work at a national park, where their boss is a veteran ranger named Bright (John Malkovich).  Of course, it doesn’t take a lot of effort to notice that neither Kyle nor Ribb really seem to do much work at the park.  And, for that matter, Bright certainly does own a big and impressive house for someone who has spent the majority of his life as a ranger….

Kyle, Swin, and Bright are actually drug dealers.  They transport drugs all over the southern half of the United States.  Kyle and Swin are supervised by Bright.  Bright, meanwhile, reports to the mysterious Frog.  Kyle and Swin have never actually met Frog and there are rumors that he might not even exist.  Of course, the film has already revealed to us that Frog (played by Vince Vaughn) does exist and is a local pawnshop owner.

Kyle narrates the film, informing us that the difference between Southern organized crime and Northern organized crime is that, in the South, it’s not all that organized.  As Kyle explains it, the infamous Dixie Mafia is not so much an organization as it’s just a collection of undisciplined lowlifes who have no real integrity or loyalty to anyone else.  When you become a drug dealer in the South, you’re a drug dealer for life.  There’s no going back if you change your mind.  You start out at the bottom of the ladder and, whenever someone above you if either murdered or imprisoned, you get your chance to move up.  No one is ever sure who is working for who or who can be trusted.  Every order from the boss is examined and re-examined as the two dealers try to figure out whether or not they’ve won the trust of the mysterious Frog.

Unfortunately for Kyle and Swin, a misunderstanding leads to violence and several deaths.  With no way to directly communicate with Frog to let him know what exactly happened, Kyle and Swin know that their lives could be in danger.  The film follows Kyle and Swin as they prepare for their ultimate meeting with Frog while, at the same time, detailing in flashback how Frog himself eventually came to his position of power.  Throughout the entire film, we watch as history repeats itself.  As Kyle said, once you’re a drug dealer, you’re a drug dealer for life.

Arkansas is a surprisingly low-key film.  Kyle, Swin, Bright, and Frog all manage to be both very laid back and very aggressive at the same time.  (Anyone who has spent anytime with a large group of rednecks will understand what I’m talking about.)  As a director, Clark Duke is as interested in capturing the rhythms of every day life in Arkansas as he is in orchestrating the inevitable violence that results from all of the film’s betrayals and mistakes and some of the best scenes in the film just feature Kyle and Swin talking about nothing in particular while driving down the interstate.  The film’s mix of cheerful goofiness and existential horror will be familiar to anyone who has ever gotten lost on the way to Hot Springs.

Liam Hemsworth and Clark Duke are sympathetic in the lead roles, though Hemsworth’s Southern accent does slip a few times.  Swin meets a woman (Eden Brolin) in a grocery store and their subsequent romance manages to be both creepy and touching at the same time.  John Malkovich is, as usual, wonderfully eccentric.  That said, the film is pretty much dominated by Vince Vaughn, who plays Frog as being both dangerously ruthless and also as someone who understands that his eventual downfall is inevitable.  Frog came to power by betraying his boss and, as played by Vaughn, Frog is very much aware that he’s destined to eventually be betrayed as well.  Frog has made peace with both his place in the world and the reality of his situation and, in many ways, that makes him an even more dangerous character than he would be otherwise.  He has nothing to lose and he knows it.

Obviously, I liked Arkansas, both the state and the movie.  It’s an well-done work of Southern pulp.

Here’s What Won At The Emmys Last Night!


Last night, Lisa Marie did not watch the Emmys because she says that, “I’m just not feeling TV this year.”  If Twin Peaks had been eligible to be nominated, I bet it would have been a different story!

Instead, she asked me to watch the ceremony and let everyone know what I thought.  It needed less politics and more cats.

Here’s the list of winners:

COMEDY

BEST COMEDY SERIES
“Atlanta”
“Black-ish”
“Masters of None”
“Modern Family”
“Silicon Valley”
“Unbreakable Kimmy Schmidt”
X — “Veep”

BEST COMEDY ACTRESS
Pamela Adlon, “Better Things”
Jane Fonda, “Grace and Frankie”
Allison Janney, “Mom”
Ellie Kemper, “Unbreakable Kimmy Schmidt”
X — Julia Louis-Dreyfus, “Veep”
Tracee Ellis Ross, “Black-ish”
Lily Tomlin, “Grace and Frankie”

BEST COMEDY ACTOR
Anthony Anderson, “Black-ish”
Aziz Ansari, “Master of None”
Zach Galifianaks, “Baskets”
X — Donald Glover, “Atlanta”
William H. Macy, “Shameless”
Jeffrey Tambor, “Transparent”

BEST COMEDY SUPPORTING ACTRESS
Vanessa Bayer, “Saturday Night Live”
Anna Chlumsky, “Veep”
Kathryn Hahn, “Transparent”
Leslie Jones, “Saturday Night Live”
Judith Light, “Transparent”
X — Kate McKinnon, “Saturday Night Live”

BEST COMEDY SUPPORTING ACTOR
Louie Anderson, “Baskets”
X — Alec Baldwin, “Saturday Night Live”
Tituss Burgess, “Unbreakable Kimmy Schmidt”
Ty Burrell, “Modern Family”
Tony Hale, “Veep”
Matt Walsh, “Veep”

BEST COMEDY DIRECTING
X — “Atlanta” (“B.A.N.”)
“Silicon Valley” (“Intellectual Property”)
“Silicon Valley” (“Server Error”)
“Veep” (“Justice”)
“Veep” (“Blurb”)
“Veep” (“Groundbreaking”)

BEST COMEDY WRITING
“Atlanta” (“B.A.N.”)
“Atlanta” (“Streets on Lock”)
X — “Master of None” (“Thanksgiving”)
“Silicon Valley” (“Success Failure”)
“Veep” (“Groundbreaking”)
“Veep” (“Georgia”)

DRAMA

BEST DRAMA SERIES
“Better Call Saul”
“The Crown”
X — “The Handmaid’s Tale”
“House of Cards”
“Stranger Things”
“This is Us”
“Westworld”

BEST DRAMA ACTRESS
Viola Davis, “How to Get Away with Murder”
Claire Foy, “The Crown”
X — Elisabeth Moss, “The Handmaid’s Tale”
Keri Russell, “The Americans”
Evan Rachel Wood, “Westworld”
Robin Wright, “House of Cards”

BEST DRAMA ACTOR
X — Sterling K. Brown, “This is Us”
Anthony Hopkins, “Westworld”
Bob Odenkirk, “Better Call Saul”
Matthew Rhys, “The Americans”
Liev Schreiber, “Ray Donovan”
Kevin Spacey, “House of Cards”
Milo Ventimiglia, “This is Us”

BEST DRAMA SUPPORTING ACTRESS
Uzo Aduba, “Orange is the New Black”
Millie Bobby Brown, “Stranger Things”
X — Ann Dowd, “The Handmaid’s Tale”
Chrissy Metz, “This is Us”
Thandie Newton, “Westworld”
Samira Wiley, “The Handmaid’s Tale”

BEST DRAMA SUPPORTING ACTOR
Jonathan Banks, “Better Call Saul”
David Harbour, “Stranger Things”
Ron Cephas Jones, “This is Us”
Michael Kelly, “House of Cards”
X — John Lithgow, “The Crown”
Mandy Patinkin, “Homeland”
Jeffrey Wright, “Westworld”

BEST DRAMA DIRECTING
“Better Call Saul” (“Witness”)
“The Crown” (“Hyde Park Corner”)
“The Handmaid’s Tale” (“The Bridge”)
X — “The Handmaid’s Tale” (“Offred”)
“Homeland” (“America First”)
“Stranger Things” (“Chapter One: The Vanishing of Will Byers”)
“Westworld” (“The Bicameral Mind”)

BEST DRAMA WRITING
“The Americans” (“The Soviet Division”)
“Better Call Saul” (“Chicanery”)
“The Crown” (“Assassins”)
X — “The Handmaid’s Tale” (“Offred”)
“Stranger Things” (“Chapter One: The Vanishing of Will Byers”)
“Westworld” (“The Bicameral Mind”)

MOVIE/LIMITED SERIES

BEST LIMITED SERIES
X — “Big Little Lies”
“Fargo”
“Feud: Bette and Joan”
“Genius”
“The Night Of”

BEST TV MOVIE
X — “Black Mirror: San Junipero”
“Christmas of Many Colors”
“The Immortal Life of Henrietta Lacks”
“Sherlock: The Lying Detective”
“The Wizard of Lies”

BEST MOVIE/MINI ACTRESS
Carrie Coon, “Fargo”
Felicity Huffman, “American Crime”
X — Nicole Kidman, “Big Little Lies”
Jessica Lange, “Feud: Bette and Joan”
Susan Sarandon, “Feud: Bette and Joan”
Reese Witherspoon, “Big Little Lies”

BEST MOVIE/MINI ACTOR
X — Riz Ahmed, “The Night Of”
Benedict Cumberbatch, “Sherlock: The Lying Detective”
Robert De Niro, “The Wizard of Lies”
Ewan McGregor, “Fargo”
Geoffrey Rush, “Genius”
John Turturro, “The Night Of”

BEST MOVIE/MINI SUPPORTING ACTRESS
Judy Davis, “Feud: Bette and Joan”
X — Laura Dern, “Big Little Lies”
Jackie Hoffman, “Feud: Bette and Joan”
Regina King, “American Crime”
Michelle Pfeiffer, “The Wizard of Lies”
Shailene Woodley, “Big Little Lies”

BEST MOVIE/MINI SUPPORTING ACTOR
Bill Camp, “The Night Of”
Alfred Molina, “Feud: Bette and Joan”
X — Alexander Skarsgard, “Big Little Lies”
David Thewlis, “Fargo”
Stanley Tucci, “Feud: Bette and Joan”
Michael Kenneth Williams, “The Night Of”

BEST MOVIE/MINI DIRECTING
X — “Big Little Lies”
“Fargo” (“The Law of Vacant Places”)
“Feud: Bette and Joan” (“And the Winner Is”)
“Genius” (“Einstein: Chapter One”)
“The Night Of” (“The Art of War”)
“The Night Of” (“The Beach”)

BEST MOVIE/MINI WRITING
“Big Little Lies”
X — “Black Mirror: San Junipero”
“Fargo” (“The Law of Vacant Places”)
“Feud: Bette and Joan” (“And the Winner Is”)
“Feud: Bette and Joan” (“Pilot”)
“The Night Of” (“Call of the Wild”)

VARIETY/REALITY

BEST REALITY COMPETITION PROGRAM
“The Amazing Race”
“Amercan Ninja Warrior”
“Project Runway”
“RuPaul’s Drag Race”
“Top Chef”
X — “The Voice”

BEST VARIETY TALK SERIES
“Full Frontal with Samantha Bee”
“Jimmy Kimmel Live”
X — “Last Week Tonight with John Oliver”
“Late Late Show with James Corden”
“Late Show with Stephen Colbert”
“Real Time with Bill Maher”

BEST VARIETY SKETCH SERIES
“Billy on the Street”
“Documentary Now”
“Drunk History”
“Portlandia”
X — “Saturday Night Live”
“Tracey Ullman’s Show”

BEST VARIETY SERIES DIRECTING
“Drunk History”
“Jimmy Kimmel Live”
“Last Week Tonight with John Oliver”
“Late Show with Stephen Colbert”
X — “Saturday Night Live”

BEST VARIETY SERIES WRITING
“Full Frontal with Samantha Bee”
X — “Last Week Tonight with John Oliver”
“Late Night with Seth Meyers”
“Late Show with Stephen Colbert

Film Review: Ghostbusters (dir by Paul Feig)


Ghostbusters

If you need any further proof that 2016 is a screwed-up year, just consider the fact that Ghostbusters, an entertaining but ultimately rather mild-mannered and innocuous summer action/comedy, has become the center of one of the biggest controversies of the year.

It all started, of course, when the reboot was first announced.  Fanboys reacted with outrage, offended that Hollywood would even consider remaking a film that was apparently one of the defining moments of their childhood.  Then, it was announced that Ghostbusters would feature an all-female cast and it would be directed by Paul Feig, the director of Bridesmaids.  The howls of outrage grew even louder.  Then that infamous trailer was released and even I felt that trailer sucked.  I wasn not alone because the trailer quickly became one of the most disliked videos in the history of YouTube.  Reading the comments underneath that trailer was literally like finding yourself trapped in a production of Marat/Sade.

Suddenly, in the eyes of very vocal group of internet trolls, the reboot of Ghostbusters went from being simply another dubious idea to being a crime against humanity.  And the trolls were so obnoxious that they managed to turn this big-budget, studio-backed production into an underdog.  Here was a movie directed by one of Hollywood’s biggest directors and starring some of Hollywood’s hottest stars and suddenly, it had become David in a biblical showdown with the Goliaths of internet.

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And then it happened.  Earlier last week, Ghostbusters was finally screened for critics.  The first reviews started to come in and they were surprisingly positive.  In fact, they were so positive that I found myself distrusting them.  I found myself wondering if critics were reacting to the film or if they were simply trying to prove that they were better than the trolls who leave obscene comments on YouTube.

Which was true, I wondered.  Was Ghostbusters the worst film ever made or was it the greatest?  Or was it perhaps just possible that Ghostbusters would turn out to be a typical summer film?

With all the controversy, it’s tempting to overpraise a film like Ghostbusters.  Battle lines have been drawn and sometimes, I feel as if I’m being told that failing to declare Ghostbusters to be the greatest and most important comedy of all time is the equivalent of letting the trolls win.

Well, that’s not true.  Ghostbusters is not the greatest or the most important comedy of all time but you know what?  Ghostbusters is good.  Ghostbusters is entertaining.  Especially during the first half, it’s full of laugh out loud moments.  At times, Ghostbusters is everything that you could hope for.

No, it’s not a perfect film.  Paul Feig is a great comedy director but, in this film at least, his direction of the big action sequences often feels uninspired (especially when compared to his previous work on Spy).  The final fourth of the film gets bogged down in CGI and the film goes from being a clever comedy to being just another summer spectacle.  Even the one-liners, which flowed so naturally at the start of the film, feel forced during the final half of the film.  Ghostbusters is good but it never quite becomes great.

ghostbusters-2016-cast-proton-packs-images

Here’s what did work: the cast.  As he previously proved with Bridesmaids, Paul Feig is a director who is uniquely skilled at creating and showcasing a strong comedic ensemble.  Kristen Wiig plays Erin Gilbert, who is denied tenure at Columbia when it is discovered that a book she wrote on the paranormal has been republished and is being sold, on Amazon, by her former best friend, Dr. Abby Yates (Melissa McCarthy).  When Erin goes to confront Abby, she not only meets Abby’s newest colleague, Dr. Jillian Holtzmann (Kate McKinnon) but she also gets dragged into investigating an actual case of paranormal activity..  Soon, Erin, Abby, and Holtzmann are investigating hauntings and capturing ghosts, all with the secret approval of the Mayor of New York (Andy Garcia).  Of course, for PR reasons, the mayor’s office has to continually disavow the Ghostbusters and occasionally have them arrested.  Working alongside the three scientists are Patty (Leslie Jones), who apparently knows the history of every building in New York, and Kevin (Chris Hemsworth), their adorably stupid receptionist.

As written, both Patty and Kevin are fairly thin characters.  Kevin’s the handsome dumb guy.  Patty is streetwise and sassy.  But both Hemsworth and Jones give such enthusiastic and sincere performances that they transcend the stereotypical nature of their roles.  At times, Kevin runs the risk of becoming too cartoonish for even a Ghostbusters film.  But if you can’t laugh at Chris Hemsworth explaining that he took the lenses out of his glasses because they were always getting dirty, what can you laugh at?

Erin is an interesting character and Kristen Wiig deserves a lot of credit for her performance.  Erin is actually given a fairly affecting backstory, centering around how she was haunted by the ghost of the old woman who used to live next door to her.  Erin is a former believer, someone who, in order to succeed in the “real” world, gave up her beliefs and conformed to the expectations of society.  When she actually meets a ghost, it’s more than just a confirmation of the supernatural.  It’s a chance for Erin to finally embrace who she truly is and what she truly cares about.  When she and the other ghostbusters chase after evil spirits, Erin is not just doing a job.  Instead, she’s finally found somewhere where she belongs.  She no longer has to pretend to be someone that she isn’t.  Wiig plays the role with just the right touch of neurotic wonder.  She grounds the entire film.

Wiig McKinnon

But the true star of the film is Kate McKinnon.  Whether she’s cheerfully smiling as a ghost vomits all over her colleagues or cheerfully explaining how easily their equipment could kill them all, Holtzmann is the greatest character in the film and McKinnon gives the best performance.  If Wiig grounds the film, McKinnon provides it with a truly demented soul.

The first half of the movie, which focuses on the relationships between the characters and features snappy and endlessly quotable dialogue, is wonderful and I was thrilled while watching it, convinced that the entire movie would be as good as the first hour.  However, the second half of the film gets bogged down in a rather predictable plot and the final action sequences could have just as easily been lifted from Pixels or one of The Avengers movies.  The surviving cast of the original Ghostbusters all show up in cameos that are, at best, inoffensive and, at worst, groan-worthy.  The end result is rather uneven.  If the film had maintained the momentum of that first hour, it would be a classic.  But that second half transforms it into just another entertaining but not quite memorable summer action film.

That said, Paul Feig is an excellent comedy director and let’s hope that he never gets so self-important that he ends up turning into Jay Roach.  Hopefully, if there is a sequel, Feig will return to direct it and Kate McKinnon will have an even bigger role.

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