Fast reviews for busy people! Watch as I review three movies in less time than it takes to make your bed. Have a look as I race against the clock to tell you about the uncom rom com “The Drama,” the outer space antics of “The Super Mario Galaxy Movie” and the singular “Dead Lover.”
Watch the whole thing HERE!
I join the Bell Media Radio Network national night time show “Shane Hewitt and the Night Shift” to talk Taylor Swift’s “The Life of a Showgirl” lawsuit, romance on sale, the Ferris Bueller that almost was and I review the Zendaya and Robert Pattinson uncom rom com “The Drama,” and suggest wedding cocktails to go along with the film.
Listen to the whole thing HERE!
I sit with Deb Hutton on NewsTalk 1010 to go over some of the week’s biggest entertainment stories and movies playing in theatres. We look at a new drama based on the Jeffrey Epstein investigation, the latest meme-worthy edition to the Australian National Film and Sound Archive, Keenan Thompson’s “Unfunny Bunny,” a new book for kids and I review “The Super Mario Galaxy Movie” and the uncom rom com “The Drama.”
Listen to the whole thing HERE!
I join CTV NewsChannel’s Scott Hirsch to talk about the uncom rom com “The Drama,” the outer space antics of “The Super Mario Galaxy Movie” and the singular “Dead Lover.”
Watch the whole thing HERE!
SYNOPSIS: An uncom rom com (uncomfortable rom com) “The Drama” stars Zendaya and Robert Pattinson as a young couple whose relationship is threatened by an unexpected revelation.
CAST: Zendaya, Robert Pattinson, Mamoudou Athie, Alana Haim, Hailey Gates, Zoë Winters. Written and directed by Kristoffer Borgli.
REVIEW: Unconventional and uncomfortable, “The Drama” is a showcase for Zendaya and Robert Pattinson’s embrace of the pitch-black material.
As quirky bookstore clerk Emma (Zendaya) and museum director Charlie (Robert Pattinson) plan for their wedding they take a moment to play a harmless game with friends. “All right, so before we got married, we did this thing where we said the worst thing we’ve ever done,” says Emma’s friend Rachel (Alana Haim). “I’ll tell mine if we all do it. Promise?”
After some encouragement Emma shares a dark secret so sordid it rocks her husband-to-be to the core. As the couple attempt to find “radical acceptance” of each other’s flaws and secrets, they first must ask if they ever really knew one another at all. “You have to stop thinking about it,” Emma says.
What begins as a meet cute rom com takes a turn into dark territory during a party game of “what’s the worst thing you’ve ever done?” over a bottle or two of wine. No spoilers here, but hot buttons are pushed by Emma’s confession, and the mist of romance disappears, crushed by the weight of the past.
Told with great energy by director/writer Kristoffer Borgli, the film is proof that many things can be true at the same time. It’s often uneasily hilarious but also upsetting. It’s stressful, provocative and yet awkward. Bound to be controversial, the gallows humor embedded in the script may corner the market on uncom rom coms as it mines some pretty dark material for laughs but somehow maintains a relatively fizzy tone.
Borgli uses the conventions of rom coms—the meet cute, obstacles and conflict, etc—but does so without the feel-good tone of a Drew Barrymore or Kathryn Heigl flick. The film’s shocking disclosure is a trigger for hurt feelings and bad behavior, but ultimately it contemplates the limits of love and empathy. It shares connective tissue with run-of-the-mill rom coms, but by its nature it digs deeper, examining the true nature of personal connection in the face of unpleasant surprises.
“The Drama” works because of Borgli’s fearless script, clever editing and Daniel Pemberton’s score, but it sticks because Zendaya and Pattinson bring messy humanity to Emma and Charlie that feel authentic no matter how twisted the plot machinations.
“Licorice Pizza,” the new slice-of-life drama from director Paul Thomas Anderson, and now playing in theatres, is a very specific movie. It transports us back in time to Los Angeles circa the 1970s. Nixon is president. In Hollywood the Tail o’ the Cock restaurant is the place to see and be seen and gas stations face country wide fuel shortages. But against that specific backdrop comes a story ripe with freewheeling charm, nostalgia and universal themes.
Cooper Hoffman, son of the late, great Philip Seymour Hoffman, is Gary Valentine, a cocky fifteen-year-old actor with a blossoming career and a back pocket filled with get rich quick schemes. At picture day at his high school he spots photographer’s assistant Alana (Alana Haim). She is ten years older than him, but he’s feeling lucky and asks her out on a date. She agrees, but says it isn’t a date, just dinner. He takes her to hotspot Tail o’ the Cock and at the end of the night tells her, “I’m not going to forget you. Just like you’re not going to forget me.”
It is the beginning of a mostly platonic relationship that sees them drift in and out of one another’s lives, start a water bed business and navigate maturity. “Maybe fate brought us together,” Gary says to her. “Our roads brought us here.”
“Licorice Pizza” (the name refers to a defunct Californian record store chain) isn’t a movie overly concerned with plot. Instead, it relies on the characters to keep things interesting.
Newcomers Hoffman and Haim, (she plays guitars and keyboards in the pop rock band Haim), do just that. Each are magnetic performers on their own, she is all glowering intensity, he’s got teenage swagger down to a tee—“I’m a showman,” he says, “it’s what I’m meant to do.”—but put them together and sparks fly. From their first exchange in the high school gym to the film’s closing moments they win us over. In the movie the characters experience the first blush of friendship and love. In the audience we get to experience another first, the debut of two new, very promising actors.
Later, after the film, I found myself daydreaming that perhaps we could revisit them every ten years or so à la the relationship trilogy “Before Sunrise,” “Before Sunset” and “Before Midnight.”
Some old-timers get to strut their stuff as well. Sean Penn plays a riff on hard drinking actor William Holden with equal parts smarm and charm and Bradley Cooper pulls out all the stops to bring Hollywood hairdresser-turned-movie mogul Jon Peters to vivid, excessive life.
It is an evocative rendering of a specific time and place, but it doesn’t all sit right. In his recreation of the 1970s, director Paul Thomas Anderson includes two scenes featuring John Michael Higgins as Jerry Frick, owner of the San Fernando Valley’s first Japanese restaurant, The Mikado. In his two scenes he is seen speaking with an over-the-top, buffoonish Japanese accent in conversation with his Japanese wives, played by Yumi Mizui and Megumi Anjo. Both scenes stick out like sore thumbs. I imagine that they are meant to represent the causal racism of the time but they break the movie’s magical spell with cultural insensitivity that adds nothing, save for a cheap laugh, to the story.
“Licorice Pizza” is kind of flipping through a diary. Some details are intense, some glossed over, but everything is relevant to the experience being written about. Like diary entries, the movie is episodic. Each passing episode allows us to get to know Gary and Alana a bit better, and just as importantly, remind us what it means to be young and in love.
