“Unfrosted,” a sweet new slice of Boomer porn now streaming on Netflix, is a one joke wonder about the corporate shenanigans behind the creation and marketing of Pop-Tarts®, the first successful shelf stable fruit jelly pastry product.
Writer/director Jerry Seinfeld stars as Bob Cabana, the product developer behind some of Kellogg’s greatest hits. When we join the story it’s 1963, in cereal’s ground zero, Battle Creek, Michigan, home to Kellogg’s and their largest rival Post.
Breakfast is defined by milk and cereal—”The magic of cereal is that you’re eating and drinking at the same time,” Cabana says.—but change is in the air. “It’s the 60s, “ says Marjorie Post (Amy Schumer) head of rival Post, “things are moving fast. There’s always a surprise in the box.”
When Cabana discovers two kids dumpster diving for discarded Post “goo,” a syrupy sweet treat they are developing for their new product, the holy grail of breakfast foods, a handheld fruit pastry.
As a corporation, Kellogg’s owns breakfast in America. They outsell Post and regularly clean up at the Bowl and Spoon Awards where they dominate the competition, winning statues in categories like “Easiest to Open Wax Bag.”
Fearing Post will get the jump on the new market, that they have “broken the pastry barrier,” Cabana flies into action. He recruits Donna Stankowski (Melissa McCarthy) a NASA scientist-turned-breakfast-food-designer to create a new breakfast treat.
But getting it to market is a long, convoluted process that involves everyone from Nikita Krushchev (Dean Norris) and President John F. Kennedy (Bill Burr) to Chef Boyardee (Bobby Moynihan) and Tony the Tiger (Hugh Grant as mascot actor Thurl Ravenscroft).
“Unfrosted” is a silly ode to Pop-Tarts®. Slaphappy and over-the-top, it does not allow facts to sully the storytelling. Seinfeld pitches the performances and story at a very heightened level, like an “SNL” sketch stretched to feature length. He has nothing on his mind other than a scattergun approach of going for the jokes. The result is a hit and miss joke-to-laughs ratio, but Seinfeld has assembled an all-star comedic cast who know how to squeeze the laughs out of the material.
Gags about the Zapruder film and an unusually playful Walter Cronkite may fly over a younger audience’s collective heads, but should hit the mark with Boomers.
Ultimately, like the snack it is based on, “Unfrosted” is empty calories but may provide a sugar rush.
The alliteration in the title of “Good Grief,” Dan Levy’s feature film debut for Netflix, extends into the storytelling. Mawkish and moving, romantic and realist, it’s a story of loss, lamentation and life that allows Levy to stretch his wings as a writer, director and performer.
Levy plays Marc, an artist who put his career on semi-hold as his superstar writer husband Oliver’s (Luke Evans) sci fi fantasy novels topped the best-seller lists. Tragedy strikes as Marc hosts a holiday party in their beautifully appointed London apartment before Oliver jets off to Paris for a book signing at the Louvre.
Minutes after Oliver leaves the warm, fuzzy celebration, sirens fill the air and Marc’s worst fears are realized. Oliver has been killed in a car accident, just a block from their flat.
Shattered by the loss, and the recent death of his mother, Marc withdraws, save for the company of his two closest friends, ex-boyfriend Thomas (Himesh Patel) and loose-cannon Sophie (Ruth Negga).
“For such a meticulous person,” Marc says of Oliver, “he left behind one hell of a mess.”
With the American publishing company demanding a return on Oliver’s unfinished book advances, a careful study of the couple’s expenses reveal the writer kept a secret pied-à-terre in Paris. Curious, Marc invites Thomas and Sophie for a weekend visit to Paris as a thank you for helping him through a very difficult year. “This is where people come to have sex,” Sophie yowls as they lay eyes on Oliver’s secret getaway.
As the City of Lights twinkles appealingly in the background, the trio confront the ragged truths of messy relationships and forge a path forward.
“Good Grief” is a study in the good, the bad and the ugly of relationships, romantic and platonic. This isn’t like a sad episode of Levy’s sitcom “Schitt’s Creek” and it’s not a ten Kleenex weepie. It’s somewhere in between. There are funny moments (see Kaitlyn Dever’s inappropriate eulogy at Oliver’s funeral for example) and humorous lines, but they are tempered by the central trio’s journey to understand the melancholic messes they have made of their lives.
It’s a mix-and-match of love and sadness with subtle shadings of romantic and road trip comedy, but it never dims the stark light it shines on the realities of friendship. Hard questions are asked and addressed, but at the end it suggests these characters don’t have their acts together, because, really, who does?
It may not be the most original thought, but this is a promising feature film directorial debut that works best when it plays it simple. A scene of the three of them on a Ferris Wheel is revealing, sweet and funny, and Marc’s scenes with Theo (Arnaud Valois), a French man he meets at an art installation, despite some clunky dialogue (“Isn’t art kind of a commemoration of pain?”) are among the film’s best.
“Good Grief” is an open-hearted, amiable film that displays Levy’s abilities as a director. It’s a handsomely mounted movie with a keen eye for casting. Luke Evans is particularly well suited to play the movie’s McGuffin, and capitalizes on his modest screentime. Patel and Negga make the most of their sidekick roles and Paris looks beautiful. Most of all, however, it’s unafraid to defy the expectations we might have had for Levy’s follow-up to the success of his award winning “Schitt’s Creek.”
Twenty years ago Disney brought one of their popular theme park rides to cinematic life with the horror comedy “Haunted Mansion.” Eddie Murphy played a realtor who valued money over family, until they all get trapped in the mansion and learn valuable life lessons. Despite some laughs and near non-stop oddball action, it flopped at the box office, and even Murphy admitted, “it wasn’t good.”
The ride, however, has remained popular, and now, two decades along, Disney is attempting to bring the scary attraction back from the dead on the big screen.
Set in New Orleans, “Haunted Mansion” stars Rosario Dawson as single mother Gabbie. On the search for a new life with her young son Travis (Chase Dillon), she’s looking for a home she can turn into a bed and breakfast. Her search comes to an end when she finds a rundown mansion that suits their budget. It needs a deep clean and some de-cob webbing, and looks like no one has lived there for years (“lived” being the operative word) but the price is right.
“This place isn’t as warm as I hoped,” she says to Travis, “but I need you to give this place a chance. This is our home now.”
When things start going bump in the night, however, it soon becomes apparent why the mansion was such a bargain.
“This house is dripping with souls,” says the Hatbox Ghost (Jared Leto). “But there’s always room for one more.”
To combat the home’s malevolent spirits Gabbie brings in a ragtag crew of ghostbusters, priest Kent (Owen Wilson), the highly Yelp rated French Quarter psychic Harriet (Tiffany Haddish), paranormal tour guide Ben (LaKeith Stanfield), and tetchy historian Bruce (Danny DeVito).
“I should warn you before you step into the house,” Gabbie says, “this could change the course of your entire life.”
“I’m not afraid of a couple ghosts,” says Ben.
“You say that now,” Gabbie replies ominously.
“Haunted Mansion” evokes the iconic Disney ride, keeping the thrills family friendly and the jump scares that have been part of the theme park experience for decades.
What is new is the emphasis on grief and loss. Both Ben and Travis are stinging from the recent deaths of loved ones, and while it feels wedged in, their shared anguish gives the movie an emotional undercurrent it would not otherwise have.
Stanfield, in his first outing as the lead in a big family film, delivers laughs while also serving as straight man to the broader performances of Haddish, Wilson and DeVito. The movie, which gets off to a slow start, but finds its feet when the supporting cast of misfits shows up.
Before it becomes awash in CGI and spectacle in its last act, “Haunted Mansion” has kind of an old-fashioned feel that falls in line with the old-school vibe of the ride. It delivers the ride’s mild “happy haunts,” some Easter Eggs for fans and quirky, character-based humor that binds it all together. It doesn’t offer the same kind of thrills as the theme park attraction, but it is a massive improvement on the original film, and could be a good introduction to horror for younger viewers.
Richard and CTV NewsChannel anchor Marcia MacMillan have a look at some movies to pass the time over the holidays including the Amazon Prime Video holiday flick “The Happiest Season” with Kristen Stewart and Dan Levy, the stop motion “Alien Xmas” on Netflix, the Netflix musical “Jingle Jangle: A Christmas Journey” starring Forest Whitaker, the Jillian Bell comedy “Godmothered” on Disney+ and Kurt Russell and Goldie Hawn as Mr. and Mrs. Claus in “The Christmas Chronicles: Part Two” on Netflix.