What’s up, Doc? A sequel to a twenty-five-year-old movie, that is what’s up.
“Space Jam: A New Legacy,” now in theatres, freshens up the 1996 Michael Jordan live-action/animated sports hybrid film with a new star and a lot of familiar (animated) faces.
The story begins in Akron, Ohio, 1988. Teenaged LeBron James is a gifted basketball player, but is distracted by his Game Pocket Computer and cartoons. A reprimand from his coach—“You’re a once-in-a-lifetime-talent!”—convinces him to focus on basketball and forget about childish things.
It’s a lesson he takes to heart.
By the time he’s grown, and a superstar, he’s all business and doesn’t understand why his son Dom (Cedric Joe) is more interested in coding than crossover dribbles. The younger James is busy too creating a basketball video game to become a team player.
Meanwhile inside the Warner Bros Serververse, Al-G Rhythm, a computer program stuck inside the Serververse, and who looks just like Don Cheadle, has his eye set on LeBron as his way out into the world. “Once I combine King James with my incredible tech,” she says, “I will finally get the recognition I deserve.”
Trouble is, LeBron is not impressed by the studio’s offer to scan him into movies, making him a virtual movie star. “Say yes,” the studio reps say, “and we’ll make mind blowing entertainment forever.”
But it’s a no. “It’s among the worst ideas ever,” says LeBron. “Athletes acting. That never goes well.”
Dom likes the idea, and his curiosity about the process leads him to the Warner Bros tech department, where he and LeBron get sucked into the movie studio’s server and come face-to-face with “nefarious nimrod” Al-G Rhythm.
Trapped in the digital space, the only way out is a high-stakes basketball game. LeBron must recruit the Looney Tunes gang to play against AI’s over-the-top Goon Squad, made up of virtual avatars with super powers and names like Wet-Fire, White Mamba and Chronos.
From the Nike logo LeBron leaves pressed into the ground when he falls into the Looney Tunes-verse, to the “Mad Max,” “Casablanca,” “Austin Powers” and “Matrix” takeoffs, to the endless mentions of Warner Bros in the script, it’s hard not to feel like intellectual property and product placement are driving the story. It’s a wild ‘n wooly world, imaginative and unpredictable but it often feels like marketing rather than a story.
Not that kids will care. And that is who this movie is for.
Director Malcolm D. Lee keeps younger minds entertained with video game and cartoon inspired action, while adults will get the clever Michael Jordan joke and bask in the nostalgia of sees old characters like Bugs Bunny and Marvin the Martian in new situations. There’s also a pretty fun game in spotting the mix-and-march of characters who make up the audience for the big game. I spotted the Gremlins, the flying monkeys from “Wizard of Oz,” Pennywise the Clown and a dozen or so others.
“Space Jam: A New Legacy” smooths away some of the adult edges from the first movie—there’s no Quentin Tarantino references this time around and Lola Bunny, now voiced by Zendaya, no longer wears a crop top—resulting in a family friendly film with good messages about being your authentic self and not what others want you to be and the importance of playing by the rules.
“Smallfoot,” a new animated film starring the voices of Channing Tatum, James Corden, Zendaya, Common and LeBron James, does a flip flop on the regular Bigfoot legend. Instead of humans wondering if Sasquatches are real, in this musical fantasy it’s the ape-like Yetis who doubt the existence of humans.
Migos, voiced by Tatum, a giant white-haired Sasquatch lives, in with his clan in the Himalayas, high above the clouds. He, like all the Yetis—they look like distant cousins to Rankin & Bass’s Abominable Snowmonster of the North—believe they fell from the butt of the great sky bison, that they live on a giant ice island supported by mammoths and that a glowing sky snail illuminates their world. Their laws are literally written in stone and kept by tribal leader the Stonekeeper (Common). What they don’t believe in are humans. “Everyone knows the Smallfoot isn’t real.”
One day, while training for his new job of gongmaster—the Yeti who wakes the village every morning—he overshoots the gong and tumbles into the snowy distance where he sees—or at least thinks he sees—a Smallfoot. Excited, he rushes back to his village with the news. He is met with equal parts wonder and anger. “If Migos is saying he saw a Smallfoot,” they say, “he is saying the stone is wrong.” His heresy gets him banished but soon he connects with a secret group, the S.E.S. (Smallfoot Evidentiary Society) run by the Stonekeeper’s daughter Meechee (Zendaya). A small collection of artefacts—like a tiny toilet paper rolls they think is a “scroll of invisible wisdom”—has convinced them of the existence of humans. Together they challenge their belief system to find the truth about Smallfoot. “It’s not about tearing down old ideas,” says Meechee, “it’s about finding new ones.”
Meanwhile in a nearby mountain town a wildlife television show host Percy Patterson (Corden) sees the Yetis as a way to improve his sagging ratings. It would be the scoop of a lifetime but at what price?
“Smallfoot” feels stretched to feature length. The animation is solid, there are jokes to make young and old laugh and Migos even revives a few of Tatum’s “Magic Mike” moves. The trouble lies in the music. It feels wedged in. This isn’t a musical by any stretch but its littered with generic pop songs—and one truly nightmare inducing version of “Under Pressure”—that are nicely realized but add little to the overall experience except for a few minutes of running time.
Better are the ideas. Wedged in between the singing and slapstick are good messages about communication and authenticity—“The truth is complicated and scary,” says Meechee, “but it is better than living a lie.”—and questioning authority. “Questions lead to knowledge,” says Gwangi (LeBron James), “and knowledge is power.” It’s about acceptance, about celebrating our differences and co-existence. In troubled, divided times these are powerful messages even when delivered by a giant Yeti.
“Smallfoot” is a big splashy movie stuffed with important ideas. Unfortunately propping those ideas up is only about an hour’s worth of story padded with songs and silliness to an hour and forty minutes.
In Trainwreck, a new comedy directed by Judd Apatow, Amy Schumer plays a promiscuous New Yorker who finds love.
It’s a side-splitting movie that will be Schumer’s big-screen breakout, but the film is also populated by a very funny supporting cast, many of whom are Schumer’s Manhattan comedy peers.
“I got to give my friends work,” Schumer, who also wrote the script, says, “and they did great in it.”
Colin Quinn and Dave Attell are two standups and friends who make big impressions in the film.
“I consider Colin to be like, in vampire terms, the maker,” says Attell.
Quinn, a legendary comedian and former SNL Weekend Update anchor, co-stars as Amy’s father, a cranky old man with an attitude and a possible drug problem.
“With actors, it’s not about the lines, it’s about the behaviour,” says Quinn. “With us, it’s just about the words. We love it, so if you come up with something funny and it’s quiet behind the camera and they yell ‘Cut’ and everybody starts laughing, that’s the best.
“In so many things it’s not about the words, but in stand-up, it’s all about the words, the order of the words. I feel more than any other art form, the audience matters so much. You have this contentious relationship with them, but they are so much a part of it. I feel like musicians get together and they jam with one each other. We need the crowd to jam. To rehearse.”
Attell is a club veteran, best known for his TV show Insomniac with Dave Attell and dark-edged lines like, “You know, men and women are a lot alike in certain situations. Like when they’re both on fire — they’re exactly alike.”
In the movie, he plays a homeless man who talks to Amy everyday.
“This is the character, of the four characters that I’ve ever played in movies, that is most like me,” he says. “That’s me in five years. That’s me after the last season of Last Comic Standing, physically and emotionally.
“I’ve been in like, three other movies, and this movie was the most fun. You show up and they want you to riff around and you go for the jokes and you keep going until you feel you got it. I love that, especially for people who aren’t classically trained actors.”
You get the feeling that as much as these guys enjoyed making Trainwreck, they are more comfortable on a stage in front of a crowd than they are on a movie set. Both agree that hostile audiences fuel them creatively.
“When it’s not going well, you still have to do the job and that’s what makes it a job,” says Attell. “That’s also often when you come up with the most enlightening stuff, in the tough crowd moment.”
Quinn may prefer live venues but according to Jimmy Fallon he may have more movie work coming his way. The Tonight Show host predicts an Oscar nomination for the comic’s work in the film.
“Why not?” Quinn deadpans. “I wasn’t expecting one but an Academy Award would not affect me now, because after I didn’t get nominated for Grown Ups 2 I feel like it’s a rigged game.”
“Trainwreck,” the new film from director Judd Apatow, is a romantic comedy with a pure heart and a dirty mouth.
In descending order of importance Amy (Amy Schumer, who also wrote the script) is a party girl, drinker and journalist. Her serial womanizing father’s mantra, “Monogamy isn’t realistic,” made an impression and she has grown into a promiscuous woman whose main relationship rule is “never stay over.” She inappropriate, sometimes cruel—“You are not nice,” says one ex—and occasionally clueless but nonetheless is handed a plum assignment by her editor (Tilda Swinton) to write an article on hotshot sports doctor Aaron Connors (Bill Hader).
Breaking both her personal rule and the first law of journalism, she gets involved with her subject. She leaves a toothbrush at his house, introduces him to her family and for once stays monogamous. Their relationship blooms until she allows self doubt—Why would this guy want to go out with me?—to get in the way of enjoying a happy, functional relationship.
There’s more to the story. Subplots about Amy’s ailing father (Colin Quinn), her sister’s (Brie Larson) suburban life and LeBron James’s cheapness—“I don’t want to end up like MC Hammer!”—are woven into the fabric, but the heart of the tale is about Amy and Aaron. Their roles are flipped—she plays the traditionally male commitment-phobe role, while Aaron wants to settle down—but it is their chemistry that keeps us interested.
Like most Apatow films “Trainwreck” is frontloaded with outrageous laughs that slowly give way to a funny but more restrained resolution. Schumer delivers most of the raunchy stuff but is never less than likeable, even when her character is reckless and immature. It’s a fine line that she treads in her stand-up comedy and it translates to the screen. Perhaps it’s because of the deep core of truth that props up even the more outrageous moments or perhaps it’s her way with a line. Either way her charm in the comedic and dramatic is the stuff of movie stars.
Hader is an unlikely romantic lead, but for many of the same reasons Schumer succeeds he scores a home run as Aaron. His scenes with Schumer have a comic ease about them, but his funniest work is reserved for his back-and-forth with LeBron James. The basketball superstar is the film’s unexpected secret weapon, delivering lines like, “Do you see his face when you look into clouds?” with the ease of a seasoned comic.
“Trainwreck” is complex and laugh out loud funny—you’ll likely miss some of the best lines because you’ll be laughing so hard—not a mix you get in many rom coms. Featuring edgy, interesting performances from its leads and supporting cast—especially Colin Quinn and Tilda Swinton—it is an auspicious big screen debut for Schumer and is Apatow’s most focused and interesting film to date.
Amy Schumer is having a fantastic year. The standup comic, television star and headline magnet is about to add movie star to her resumé.
Inside Amy Schumer, her Peabody Award-winning TV show, makes news every single week, whether it’s tackling topics like high school rape culture in a Friday Night Lights takeoff or assembling a jury, à la 12 Angry Men, to debate whether Schumer is quote, hot enough, unquote, to be on television.
She’s everywhere and soon she’ll be on the big screen in Trainwreck, directed by comedy maestro Judd Apatow from a script by Schumer. In the most unconventional rom-com since Bridesmaids, she stars as a young, promiscuous New York woman who drinks too much and finds true love despite doing everything to avoid it.
“To be me right now is very weird,” she says. “It’s weird, I feel like I am famous all of a sudden. I’ve been kind of recognizable but now it is very different and it is very new. It’s overwhelming. It is a little scary. I’m on the subway and it’s not like one or two people — it’s like the whole car wants a picture. It’s overwhelming.”
“I never thought about being famous. That was never part of my thing, but once it was on the horizon as a possibility, it seemed like a real bummer. I could see there’s no upside. The upside is I sometimes get free appetizers and I can get a reservation at a restaurant. I only go to one place in New York, it’s a tea place, the Tea Cup, and they don’t take reservations but I can make a reservation there. I swear I don’t see another upside. It sucks.”
As that last quote displays, Schumer’s work is characterized by a lack of pretence.
“I like to get rid of artifice,” she says. “I haven’t gone to the bathroom in three days and I’m hungover and that’s OK.”
But these days she’s more often than not very publicly on display.
“It’s very hard for me to be in hair and makeup all the time and clothes I don’t feel comfortable in. Because you do this work you feel proud of, I feel you’re punished by having to dress up like a show poodle.”
Trainwreck is set in New York but not because it is the traditional home of the classic rom-coms, but because “I just don’t know any other city,” she says. “I am a creature of habit. I just like going to the Comedy Cellar and walking around the reservoir in Central Park.”
She may be a creature of habit in her personal life, but has shaken up the formula for her first movie, although she balks at the suggestion that she switched the gender roles in the film.
“It was a complete surprise to me,” she says. “There wasn’t a thought of, ‘I’m playing the male role.’ It makes sense to me. I know in most movies it’s not this way, but in my real life and in the lives of the women I’m close to and in this age, I’ve found that, as somebody who is still out there dating, that the men often times are the more vulnerable of the two and just more sensitive. Mostly about it being over. If you go out with someone once and you’re just not feeling it, if a guy doesn’t call me back it is a blow to the ego, but I’m not like, ‘But … why? I have a great job.’
“It’s funny, I was watching The Bachelorette, I’m a fan. One of the guys was feeling rejected and he kind of turned on her. She didn’t do anything to him but he was like, ‘My ex-girlfriend was twice as hot as her.’ I think the male ego is way more sensitive than the female ego. It was not a conscious decision to reverse the roles. That has really been my experience.”
She says watching the final cut of the film and seeing the audience reaction at SXSW earlier this year “was the best night of my life so far.”
“I’m already proud of the movie. The movie is already a success to me. My peers really like it and I got to give my friends work and they did great in it. Beyond that, I hope it changes the perspective of people who see it. I hope people are a little less likely to judge and women feel more empowered.”
“More Than a Game” is billed as the LeBron James movie but the superstar player is only part of the tale. The best story in this new documentary, six years in the making, is actually the life story of LeBron’s childhood coach, the man who shaped LeBron not only into a superstar athlete, but ushered him and his teammates from boyhood to manhood.
The film chronicles the rise and, well rise of James and his high school cohorts, the Fab 4 (later to become the Fab 5), a group of fearsomely talented b’ball players who dominated every basketball court they dribbled on from grade school to graduation. Along the way we learn of their struggles and the personal price they paid to become national champions.
Like all sports movies it adheres to the usual win some-lose some formula designed to build drama, but because the story is so recent—most of it happens in the 00s—there isn’t that much drama to be had. LeBron is a superstar and he didn’t get that way by slacking or losing lots of games.
Far more interesting than the rise to the top of the high school athletics heap is the story of the camaraderie, teaching and sacrifice that got LeBron and his teammates there. Like all good sports docs, it’s not really about the sports, it’s about the story behind the game.
That’s where Coach Dru Joyce’s story comes in. He taught these guys how to play the game, but he also gave them something much more important than that. He became a father figure for these young men, giving them more than dribbling advice. He gave them the tools they needed to survive on and off the court, He gave them a winning attitude and that is the heart of the film. He’s an inspiring character who left a career in corporate America to do something really important—be a mentor.
The rest of the film is slickly produced and well put together but suffers from a lack of in-depth reporting and repetition of already established facts. We know coach and players worked hard. We know Dru Senior and Little Dru (one of the Fab 5) had personal and professional problems but much of the meat of the doc is left only half explored. More revealing is the look on James’s face when he and his mother discuss his difficult upbringing. It underlines the early life of pain he’s overcome and is one of the true, raw moments in the film that doesn’t feel overly slick and manufactured.
“More Than a Game” is more than just a sports documentary but could have benefited from less repetition and more good old fashioned reporting.
