SYNOPSIS: In “Kinda Pregnant,” a new rom com now streaming on Netflix, Amy Schumer plays a woman who, when her hopes of settling down and starting a family are upended, fakes a pregnancy and falls for the man of her dreams. “The belly is fake,” reads the movie’s tagline. “The struggle is real.”
CAST: Amy Schumer, Jillian Bell, Will Forte, Damon Wayans Jr., Brianne Howey, Chris Geere, Alex Moffat. Directed by Tyler Spindel.
REVIEW: “Kinda Pregnant” is kinda funny, with laughs sprinkled throughout, but it works best when it shelves the outrageous stuff in favor of more heartfelt material.
In the movie’s early minutes of seven-year-old Lainy (Jayne Sowers) tells her best friend Kate (Julianna Layne), “being a mom is the best thing a human being can do.”
Cut to modern day. Lainy, now played by Amy Schumer, is a schoolteacher, still best friends with Kate (Jillian Bell) and still obsessed with starting a family when she is hit with a double whammy. Kate gets pregnant after her boyfriend Dave (Damon Wayans Jr.) drops a bomb on her, leaving her feeling that love is a lie.
Jealous of Kate’s pregnancy and despondent over Dave, Lainy, in true screwball comedy form, shoplifts a fake baby bump and discovers that when people think she’s pregnant they’re nicer to her.
Cue the misunderstandings and mayhem.
Those familiar with Schumer’s work will find a great deal of shared territory between her stand-up and “Kinda Pregnant.” Bold, unapologetic and relatable, Schumer’s stand-up is personal, a beguiling mix of social commentary, self-deprecation and gender politics.
Many of those themes are present here.
The movie, like her stand-up and her award-winning TV show “Inside Amy Schumer,” deals with body image, societal expectations placed on pregnant women, insecurities, the intricacies of friendship and the blossoming of real human connection, but the keenly observed insights of her stand up are blunted here, mostly reduced to broad generalizations and rude and crude punchlines.
But don’t get me wrong, some of the raunchy stuff works— South African-New Zealander comic Urzila Carlson is outrageous and funny, and Brianne Howey as the overbearing Megan, who says, “Kindness is my favorite hobby,” raises a few laughs—but it seems at odds with the more heartfelt aspects of the story.
“Kinda Pregnant’s” clichéd message of learning to love oneself before seeking it elsewhere comes a bit too late, long after our love for the movie has gone.
Like “Starman,” the 1984 Jeff Bridges movie about an alien who returns to Earth in the form of a heartbroken widow’s late husband, a new film is an out-of-this-world exploration of grief.
In “I’m Totally Fine,” a new dark comedy now on VOD, Jillian Bell plays Vanessa, a young woman struggling to clear her head after the sudden death of her best friend and business partner Jennifer (Natalie Morales).
Alone at the rental home, where she was planning a party to celebrate the success of their shared soft drink company, she is startled when someone—or something—who looks exactly like her late friend turns up in the kitchen. The strange situation becomes even stranger when new Jennifer (Morales) says she is an extraterrestrial, loaded with all of Jennifer memories, sent to Earth for forty-eight hours to study civilization. “Jennifer remains deceased,” says the species observation officer, “I am simply an extraterrestrial who has taken her form.”
Over the next two days, reluctantly at first, Vanessa undergoes tests and begins to understand the meaning of Alfred Lord Tennyson’s words, “’tis better to have loved and lost than never to have loved at all.”
“I’m Totally Fine” is an undeniably weird odd-couple movie about the power of connection and the importance of letting go.
Bell is understated as she cycles through Vanessa’s stages of grief. “It might be fun to see how unstable I can get,” she says. Her world is inside out, but as alien Jennifer looks on, making notes—”Human has turned anger on herself.”—that actually help Vanessa punch a hole into the melancholy that hangs over her like a veil.
The far showier role belongs to Morales. As a monotone alien who is often bewildered by humanity, her unabashedly odd performance becomes endearing as she becomes the catapult for Vanessa’s catharsis. It’s a trick to find the balance between quirky and compassion, and Morales nails it.
Despite its odd story, “I’m Totally Fine” doesn’t go anywhere you don’t see coming, but the performances bring some real humanity to the alien premise.
Just because Bill and Ted, the time travelling slackers last seen on screen almost thirty years ago, got bigger and older doesn’t mean they grew up. Alex Winter and Keanu Reeves reunite as William S. “Bill” Preston, Esq and Theodore “Ted” Logan in “Bill and Ted Face the Music,” available now in theatres and on demand, to try, once again, to save the world through music.
The leaders of the Wyld Stallyns are now middle aged with kids of their own, played by Brigette Lundy-Paine and Samara Weaving. At their peak Bill and Ted’s band played at the Grand Canyon but are now reduced to performing at a lodge for a handful of people who were already there for taco night. Still, they persist in their quest to write the perfect song, a tune so powerful it will unite the world.
Not everyone is on board. “It’s been hard to watch you beat your heads against the wall for 25 years,” says Ted’s wife Princess Elizabeth Logan (Erinn Hayes). “Not sure how much more we can take.”
But when their old mentor Rufus (George Carlin in archival footage) send his daughter Kelly (Kristen Schaal) from the future with a mission, Bill and Ted accept. Given 77 minutes and 25 seconds to create a song that will “save reality,“ the duo go on an excellent, time travelling journey to the future to get the song from their future selves. “Let’s go say hello to ourselves and get that song,” says the ever-optimistic Bill.
Cue the famous inner-dimensional phone box.
The new adventure brings with it some grown-up issues, marital problems, matters of life and death, their manipulative future selves, a trip to hell and killer robots.
Meanwhile, as Bill and Ted race into the future with Kelly their daughters are on a mission of their own. Zipping through time they convince some of the greatest musicians the world has ever known—Jimi Hendrix (DazMann Still), Louis Armstrong (Jeremiah Craft), Mozart (Daniel Dorr), drummer Grom (Patty Anne Miller), flautist Ling Lun (Sharon Gee) and rapper Kid Cudi as himself—to bring Bill and Ted’s music to life.
A mix of quantum physics and silly humor, “Bill and Ted Face the Music” is more a blast in nostalgia than laugh out loud funny. The screenplay, by Chris Matheson and Ed Solomon, who also penned “Bill & Ted’s Excellent Adventure” and “Bill & Ted’s Bogus Journey,” haven’t played around with the formula. This isn’t a gritty reimagining of the franchise. Bill and Ted haven’t developed dark sides or become jaded. They are carbon copies of their former screen selves, albeit with a few more miles on their faces. The yuks are derived from Bill and Ted as wide-eyed, Valley-speaking saviors who look for and find the best in everyone they meet in the past, present and future.
Along the way there are some welcome returns, most notably William Sadler as the bass playing Grim Reaper, who can’t understand why Bill and Ted don’t appreciate his 40-minute-long bass solos, and it’s nice to see Carlin again, if only for a second. Lundy-Paine and Weaving, have fun, playing the daughters as two chips off the old blockheads, naively discovering the true secret of world unity.
“Bill and Ted Face the Music” is a blast from the past, a movie that would look great on VHS, that maintains the goofiness and the optimism of the originals.
When we first meet twenty-eight-year-old Brittany (Jillian Bell) she’s at a low point in her life. Broke and unhappy, she drinks away her morning hangovers and is so unreliable an animal kill shelter rejects her adoption request because they don’t feel she can give the dog the future it deserves.
When her doctor (Patch Darragh) tells her she has a high BMI, placing her firmly in the obese category, she wisecracks, “I feel you completely missed the point of those Dove commercials,” but the news has an effect.
Feeling crappy, an influenced by her upstairs neighbour Catherine (Michaela Watkins) she decides to make some dramatic life changes. “I’m starting to feel like everyone’s life is going somewhere and mine isn’t,” she says.
Step one is exercise. She tries to sign up at a local gym but can’t afford the monthly fee. “I see under your fitness goals you have drawn a frowny face,” says her recruiter (Mikey Day). Instead she takes tentative steps that turn into a run through the streets around her walk-up apartment. With the help of new running friends Catherine, who is changing her life post-divorce and Seth, and Seth (Micah Stock) a novice athlete who wants to run the 26.2-mile New York Marathon to prove to his son it can be done. Together they train with the mantra, “We don’t have to win,” they say, “we just have to finish.”
She’s taking back her life, one block at a time but weeks before the big run Brittany is sidelined, forcing her to examine the deeper reasons she needed to change her life and begin to focus on the things she can control.
There’s a quick shot of Rocky Balboa, another great underdog who transformed through sheer will, in the film’s Philadelphia section. The comparison is apt. Both movies are underdog tales that transcend the sports on display. On the surface “Rocky” is about boxing, just as “Brittany Runs a Marathon” is about running but both have larger themes that examine dissatisfaction, respect, ambition and family. These universal themes, coupled with winning performances from the cast, particularly Bell and Utkarsh Ambudkar as Brittany’s sorta-kinda boyfriend Jern, and big laughs make “Brittany Runs a Marathon” more than an inspirational sports film. It digs deep and the story packs an unexpected emotional punch as it uplifts.
To describe “Rough Night,” a new ensemble comedy starring Scarlett Johansson, Zoë Kravitz, Kate McKinnon, Jillian Bell and Ilana Glazer, as a comedy of errors makes it sound more genteel than it actually is. Deadly mistakes are made on this weekend bachelorette party getaway and there is loads of comedy but there is nothing genteel about this dark and debauched movie.
Johansson is Jess, an A-Type candidate for state senate and bride-to-be. When her former college roommates (and fellow beer-pong champions) arrange a weekend in Miami she’s hoping for a quiet, dignified affair. Her friends Alice (Bell), Blair (Kravitz), Frankie (Glazer) and Pippa (McKinnon) Jess’s Australian friend from a semester abroad, have different ideas; ideas that include foam parties, booze and male strippers.
The trouble starts early when Frankie uncorks a bottle of champagne at the airport and the pop, mistaken for a gunshot, causes panic. Checking into their swanky beach house (courtesy of Jess’s biggest and only campaign donors) they get the party started. Adding to the loose atmosphere are the swingers (Demi Moore and Ty Burrell) in the house next door. “This weekend is all about us,” says Jess, “just like old times.” And it is like old times, with camaraderie, laughs and plenty of booze and drugs until Alice accidentally kills the male stripper they hired as entertainment. “It really is a tragedy,” says Pippa, “he could have been a scientist and cured cancer.”
Aspiring politician Jess immediately kicks into survival mode, engaging in the great political pastime, the cover-up. “I know things are crazy right now,” she says, “but you’re going to have a lot of material for my wedding speeches.”
“Rough Night” breathes the same air as other big, raunchy ensemble movies like “Very Bad Things,” “How to be Single,” “The Night Before” and “The Hangover.” It embraces its wild side, adds a dollop of “Weekend at Bernie’s” to take advantage of its star power and push the envelope.
The first half hour plays like a naughty comedy, giddy with the promise of a raunchy good time. The tone changes abruptly as the body lies in a crimson puddle set against the stark white tile floor. There are still laughs but they come from a different place, a nasty place that takes some of the air out of this comedy balloon. It never quite gets to the level of inspired lunacy that “Bridesmaids” found so effortlessly because it doesn’t have the same kind of heart.
It does, however, have several fun moments, both before and after the death, most courtesy of McKinnon, Bell and Paul W. Downs who plays Jess’s nice-guy fiancée Peter.
McKinnon brings a wonky Australian accent and her trademark off kilter presence to the role of the best friend from far away. She plays Pippa like a visitor from Mars not Australia, someone who tries to fit in even though she’s unfamiliar with the ways of the rest of society.
Bell, who has shone in small roles in movies like “Fist Fight,” “22 Jump Street” and “The Night Before” is given a chance to strut her stuff here. She plays Alice as the kind of loose canon who throws up on the bar and nonchalantly says, “It smells like barf here. Let’s get outta here.” She’s the comedic engine who keeps the movie from succumbing to its dark side.
It would be a spoiler to describe Downs’ contribution to the goings on. Suffice to say, it involves Red Bull, gymnastics, adult diapers and a sweet disposition.
“Rough Night” has laughs but they are mostly derived from an unpleasant situation. It’s fun to see how the dynamics of the college friends manifest under stressful circumstances but the strain they feel mirrors the strain the movie feels trying to find a consistent, funny tone.
In Office Christmas Party T.J. Miller plays Clay, a scattered office manager with a “mind like a drunk baby.” In a last ditch effort to save his branch from closure he tries to woo a lucrative client by throwing a no-holds-barred Christmas party.
“This is the way we close Walter,” says Clay. “We throw the best Christmas party he’s ever seen. We could save everybody’s jobs.”
Miller leads an ensemble cast featuring heavy-hitters like Jason Bateman, Olivia Munn, Kate McKinnon and Jennifer Aniston but he doesn’t want to talk about that. Not right away, anyway.
Instead he begins the interview with, “Let’s talk comedy in a time of tragedy.”
OK, lets.
“Basically I have a political obstacle to my social mission statement,” he says. “The social statement was, tragedy permeates our everyday lives, people are lonely, they’re scared, they have death anxiety, they don’t know how to attribute meaning to their own existence, so through comedy we can provide an opiate or distraction that permeates our everyday lives. Through satire we can hopefully frame the world in a way that people can laugh at.
“Also I aim to help people, through my stand up, to release the death anxiety. I aim to help people not take themselves so seriously.”
When Miller, who also currently plays Erlich Bachman on Silicon Valley, finally gets around to talking about Office Christmas Party, he’s still on message.
“It’s very easy to promote a comedy during the apocalypse,” he says.
The Christmas film, which features a greedy pimp, a sexually repressed head of HR and an office load of drunk, disgruntled employees, is a mix and match of sentimentality and debauchery that Miller thinks is perfect for the season.
“What better way to spend the holidays?” he asks. “First of all you don’t have to talk to your family for an hour-and-a-half during the holidays. That’s a bonus. If the movie is funny, you talk about how funny it was for half-an-hour. How dynamic Jenifer Aniston, Jason Bateman and Courtney B. Vance are. How strange I look in a Santa suit for that long. That my facial hair is still abrasive and arresting. That’s two- and-a-half to three hours towards a stress free holiday. That’s what we’re pitching you.
“It’s a funny movie. It’s a laugh a minute. Well, it’s a laugh every minute-and-a-half to two minutes. We wanted to give you a break. It’s exhausting to laugh every minute.”
Miller, who once worked as a legal secretary in the same Chicago office building seen in the film, says the movie is silly and fun but shares his core comedy philosophy.
“Workplace environments have become so sterile and corporations have become so much about profit and not the people they work with that we’ve lost the fun of work. We don’t have cool office Christmas parties anymore. We are saying, ‘You spend so much time with the people you work with, why not have a night or two a year where you can kind of just relax? Take a night off from worrying about offending someone or giving ‘tude.’
“That is our message to North America. Take the holidays, drink way too much eggnog, laugh, relax and know that we’ve got a lot of work to do in 2017.”
Jennifer Aniston and Jason Bateman appeared in the edgy “Horrible Bosses” films so you’d expect their new movie, “Office Christmas Party” to be holiday fare more naughty than nice. But you’d be wrong. Their latest suffers from not being too vulgar, but from being not vulgar enough.
Aniston runs Zenotech Data Storage Systems, a tech company she inherited from her late father. Dad left her the company but gave the main branch to her party animal brother Clay (T.J. Miller). She’s a strict by–the-book business person the Grinch who cancels all branch Christmas parties to save money and gives Clay until the end of the quarter, just two days away, to turn things around or she will lay off 40% of the staff and cancel all bonuses.
Clay is scattered with a “mind like a drunk baby,” but determined to protect his branch and his staff. To that end he recruits head programmers Josh (Jason Bateman) and Tracey (Olivia Munn) to woo a lucrative client (Courtney B. Vance) by throwing a no-holds-barred office Christmas party. “This is the way we close Walter, we throw the best Christmas party he’s ever seen,” says Clay. “We could save everybody’s jobs.”
Despite Clay’s warning, “When I drink a lot bad things happen,” they proceed with the party. Add in a greedy pimp, $300,000 in cold hard cash, a sexually repressed head of HR (Kate McKinnon) and an office load of drunk, disgruntled employees and you have a Bacchanalia that would make would make Caligula blush.
Given the premise “Office Christmas Party” is not nearly as wild as a movie about and out of control party should be. Despite the excess of flesh and booze the movie often opts for sentimentality over debauchery. It most certainly doesn’t put the ‘X’ in Xmas.
Tone wise it should feel like anything could happen; like the movie could go off the rails at any second. Instead it’s as sweet and gooey as a (slightly soiled) Hallmark Christmas card.
Packed with comedy heavy hitters like Aniston, Bateman, McKinnon and Miller, it’s the supporting cast who garner most of the laughs. Fortune Feimster, a comic best known for her work on “The Mindy Project” livens things up as a motor mouth Uber driver and Randall Park’s take on a shy-but-kinky office worker has its charms but it is Courtney B. Vance who steals the show. The velvet-voiced character actor who specializes in playing lawyers—think “Law & Order” and his Johnnie Cochran in
“The People v. O.J. Simpson: American Crime Story”—unexpectedly lets his freak flag fly and the results are glorious. If it was his movie it might have been more fun.
‘Tis the season to be heart warming. In the coming weeks the movies will pull out the tinsel and sentiment in an effort to give you the Yuletide feel-goods.
“The Night Before” is not one of those movies. Sure, it’s filled with the spirit of Christmas past, present and future, love and other familiar themes, but this Seth Rogen movie also puts the X in Xmas.
The story begins fourteen years ago with the deaths of Ethan’s (Joseph Gordon-Levitt) parents. Alone and sad on Christmas Eve, his best friends Isaac (Rogen) and Chris (Anthony Mackie) rally around him, beginning a December 24th tradition involving karaoke, Chinese food, playing the giant piano at FAO Schwartz and, because this is a Seth Rogen movie, lots of drinking and drugs.
Isaac and Chris are the only family Ethan has, but as the years pass the guys grow apart. Today Isaac is a lawyer with a wife (Jillian Bell) and a baby on the way. Chris is a superstar athlete while Ethan is still struggling. Recently dumped by his girlfriend (Lizzy Caplan) he picks up catering gigs (dressed as an Elf) as he tries to get gigs for his band. The guys plan one last Christmas Eve together and when they score tickets for the best party in NYC, the Nutcracker Ball, the night is poised to become one for the ages.
“The Night Before” is profane and probably sacrilegious but it’s also the funniest and in its own foul-mouthed way, sweetest Christmas movie of recent memory. It’s a fairy tale of sorts that borrows heavily from “It’s a Wonderful Life” and “A Christmas Carol” but forges its own path. It believes in all the usual Christmas clichés, but updates them with outrageous antics that some will find hilarious while others may find extreme. Either way, the one thing that is not subjective is the spirit of kindness that manages to peak through, past the swearing babies and drunken, brawling Santas.
The three leads are likeable, funny and keep things flowing nicely but it is Michael Shannon in an extended cameo as a drug dealer whose weed provides “surprisingly accurate visions of the future” who steals the show. Surreal and slightly menacing, he’s Clarence Odbody for a new generation.
“The Night Before” could become a beloved Christmas classic… if Justin Trudeau finally makes marijuana legal in Canada. It’s a stoner comedy that is nuttier than Grandma’s fruitcake but just as sweet.
SYNOPSIS: In “Kinda Pregnant,” a new rom com now streaming on Netflix, Amy Schumer plays a woman who, when her hopes of settling down and starting a family are upended, fakes a pregnancy and falls for the man of her dreams. “The belly is fake,” reads the movie’s tagline. “The struggle is real.”
