“Dinner with Friends,” a new comedy starring Malin Akerman and Kat Dennings now on VOD, is a Hollywood Hills friends and family farce that seems to have done much of its casting at the nearby Comedy Store on the Sunset Strip.
Dennings and Akerman are Abby and Molly, BFFs who have both recently split with their significant others. After declaring she would love her to “the moon and back,” Abby’s girlfriend left abruptly and Molly is now a single mom after her four-year marriage imploded. Their plan to spend a quiet Thanksgiving is turned upside down when Molly’s one-night-stand (Jack Donnelly) blossoms into a relationship and decides to crash their party.
From there the party grows and grows as word gets out of a Friendsgiving at Molly’s house. Her touchy-feely mom Helen (Jane Seymour) arrives, fresh off her fifth divorce, and gets friendly with Molly’s old boyfriend (Ryan Hansen). Then there’s an assortment of characters like self-described “shawoman” Claire (Chelsea Peretti), the hemorrhoid obsessed Rick (Andrew Santino) and Lauren (Aisha Tyler) who shows up with her husband (Deon Cole), two kids and a stash of magic mushrooms.
Predictably, things swing out of control as friends, family and ex-lovers collide. There’s even a trio of “Fairy Gay Mothers” (Wanda Sykes, Margaret Cho, Fortune Feimster) who descend to offer Abby some life advice.
“Dinner with Friends,” called “Friendsgiving” in the United States, is an all-out farce with a heart of gold. By the time the end credits roll the movie reveals itself not to be about a randy mother figure or a friend’s psychedelic trip. Ultimately, it’s a story of healing and working through dysfunction. Along the way, however, are enough raunchy jokes to curdle your eggnog. It’s an old formula and despite some winning performances—many from the stand-up comics who migrated down from the Comedy Store—it feels as stale as Thanksgiving’s left-over stuffing.
They had me at ape. Rampage stars Dwayne Johnson as primatologist Davis Okoye along with an all-star cast, including Naomie Harris and Malin Åkerman, but for me it’s all about the ape with the unlikely name of George.
Based on the 1986 arcade game Rampage, the new film directed by Newfoundland native Brad Peyton sees a genetic experiment go horribly wrong. “We’ve created the next chapter in natural selection. Project Rampage works.” Except when it doesn’t.
George, a giant but gentle silverback gorilla, a winged wolf and a reptile are transformed into monsters with an appetite for destruction. That’s right, there’s a gorilla so big it makes The Rock and his oversized muscles look like a first grader by comparison.
Luckily Okoye raised George and they share an unbreakable bond, a connection so strong the primatologist just might be able to reason with the gorilla and put an end to the invasion of the mega-beasts.
Primate power! I go ape over simian cinema. Whether it’s the Disneynature Earth Day documentary Chimpanzee which follows the story of Oscar, an African chimpanzee born into a troop led by alpha male Freddy or the animated simian reworking of The Right Stuff called Space Chimps, I’m buying a ticket. I even enjoyed The Hangover 2 largely because of Crystal the Monkey who played a drug dealer.
Paving the way for Crystal and her primate kin was simian superstar Peggy the Chimp who appeared alongside future president Ronald Reagan in Bedtime for Bonzo. “I fought a losing battle with a scene-stealer with a built-in edge,” said the 40th President of the United States, “he was a chimpanzee!” Actually he was a she, a trained chimp who once almost strangled Reagan by mistake. The inquisitive ape grabbed the actor’s necktie and pulled it so tight the knot was “as small as my fingernail,” Reagan remembered. A quick thinking crew member cut the tie off before the Republican turned blue, setting him free to finish the cheesy movie Johnny Carson joked would become, “a favourite of old movie buffs and Democrats.”
The Tarzan movies made a superstar out of Cheetah the Chimp even though no chimpanzees appear in the Edgar Rice Burroughs novels that inspired the films. Over a dozen apes worked on the Tarzan movies and TV shows but the most famous must be Cheeta who starred in two dozen films. In 2008 he released Me Cheeta, a memoir ghostwritten by James Lever. “’I acted into my thirties,” “he” wrote. “Most chimps retire by the age of ten because they won’t do what they’re told. I didn’t want to end up in a lab with an electrode in my forehead.”
Long before computer generated special effects made digital apes like the ones featured in movies like Rampage and War for the Planet of the Apes possible, a makeup artist named John Chambers pioneered primate makeup. His work on the original Planet of the Apes was based on a technique he developed during World War II to give disfigured veterans a natural look.
The makeup process was so intense that Kim Hunter, who played chimpanzee psychologist and veterinarian Zira, had to be prescribed valium to keep her calm during the sessions. Chambers’ makeup work was extreme, but it earned him a special Academy Award his statue was presented by—who else?—a tuxedo-clad chimpanzee.
Dwayne Johnson has finally found a co-star bigger and musclier than he is, a giant silverback gorilla named George, the only living thing on earth large enough to flip The Rock the bird and get away with it.
Based on the 1986 arcade game “Rampage,” the new film directed by Newfoundland native Brad Peyton, sees a genetic experiment go horribly wrong. “We’ve created the next chapter in natural selection. Project Rampage works.” Except when it doesn’t.
George, the giant but gentle silverback gorilla, a winged wolf and a reptile are transformed into monsters with an appetite for destruction. That’s right, there’s a gorilla so big it makes The Rock, who plays Davis Okoye, a Dr. Doolittle talking-to-animals type with king-size muscles, look like a first grader by comparison.
Luckily Okoye raised George and they share an unbreakable bond, a connection so strong the primatologist just might be able to reason with the gorilla and put an end to the invasion of the mega-beasts.
I’m no different than anybody else. I’m happy to spend cash to watch nature go wild as humungous beasts (including the pumped up Johnson) battle one another. It should be loads of fun, peppered with Johnson’s trademarked one-liners, some heavy beast-on-beast action topped off with an evil corporation with an appetite for destruction and a scientist with something to prove but instead it’s a about spectacle and little else. Don’t give me wrong I didn’t expect “Coriolanus” with a giant flying wolf but in the CGI era when anything is possible I know the visuals will pop. I’d also like the script to do some of the work as well. It’s the kind of big budget b-movie where it takes four credited writers to come up with bon mots like, “I can’t believe we survived that,“ and “Thank you for saving the world.” (That is not a spoiler. You know the world will survive the rampaging creatures.) Johnson is an engaging performer, so is co-star Naomie Harris, but imagine how much better the movie would be if they were given better things to say than, “Davis, try not to get killed.” Without characters you care about who cares if giant beasts made of pixels destroy a pretend city?
“Rampage” isn’t the only oversized fiend film coming this year. To warm us up for “Rampage” they showed a trailer for “The Meg,” a.k.a. “Jason Statham and The Giant Shark.” Call it the year of the gigantic beast if you like but so far—I haven’t seen “The Meg” yet–bigger isn’t always better.
Blythe Danner Interview with Richard Crouse for “I’ll See You in My Dreams ”
“I think it is a very underplayed role,” she says. “Yes, she runs the gamut of emotions but there is nothing that is very extreme in my playing of this role. It is heartening that people are touched by the whole film and if they are by my performance that is very flattering but I don’t see it as an Oscar worthy performance. I just don’t see it. The possibility seems absurd to me.”
Hilly Kristal became known as the Grand Curator of Punk. As the owner of CBGB, the American birthplace of punk rock, he auditioned hundreds of bands and gave groups like The Ramones, Blondie and The Talking Heads their first big breaks. When he liked a band he’d say his now legendary catchphrase, “There’s something there…”
After watching “CBGB,” the Alan Rickman movie based on his life and club, I was reminded of Gertrude Stein’s famous catchphrase, “There is no there there.”
When we first met Hilly (Rickman) he’s a divorced father with two failed clubs to his credit. When he stumbles across a dive bar on New York City’s Bowery he sees an opportunity. Taking over the lease, he befriends the neighborhood’s junkies, bikers and musicians, even if his original idea of presenting country, blue grass and blues (hence the acronym CBGB) gets passed over in favor of underground music by bands like Television and The Ramones.
The club is a hit, but Kristal is a terrible businessman who never pays his rent or liquor distributors. That job falls to his daughter Lisa (“Twilight’s” Ashley Greene) who pays the bills as an endless parade of musicians with names like Iggy Pop (Taylor Hawkins), Joey Ramone (Joel David Moore), Cheetah Chrome (Rupert Grint) and Debbie Harry (Malin Akerman) create a new youth movement on the club’s rickety stage.
Punk rock was a glorious racket, a stripped-down music designed put a bullet in the head of the Flower Power generation. Loud, fast and snotty, the music was ripe with energy and rebellion.
In other words it was everything that “CBGB” is not.
Director Randall Miller gets period details mostly right—the film’s set features artifacts from the punk rock shrine, including the bar, the pay phone, the poster filled walls and the infamously funky toilets—but entirely misses the spirit of the times and the music.
A movie about punk rock should crackle with energy. Despite a rockin’ soundtrack, “CBGB” feels inert. The story focuses on Kristal but Rickman barely registers. The actor reduces the flamboyant character to a morose monotone; a man at the center of a hurricane but who doesn’t feel the breeze.
The impersonations of the musicians are mostly quite good. The surprising stand-out is Rupert Grint as Dead Boys bassist Cheetah Chrome. It’s as un-Harry Potter a performance as you could imagine and he enthusiastically embraces Daniel Radcliffe’s post-Potter habit of showing his bum as often as possible.
Others acquit themselves in suitable snotty fashion, but the recreations mostly made me wish “CBGB” was a documentary and not a feature film. It has interesting tidbits about the time. For instance when Hilly first meets the Ramones he asks if they have any original songs. They say they only have five tunes, four of which have “I Don’t Wanna” in the title while the fifth is called “I Wanna Sniff Some Glue.” It’s a funny story, whether true or not, it hints at the kind of details that may have fleshed out a film that spends far too much time focused on the club and not on the music.
Not that there is a shortage of music, but it feels more “Rock of Ages” than “Raw Power.”
“CBGB” takes an exciting story of an important time and shaves all the rough edges away, leaving behind smoothed over vision of a rough-and-ready time.
“Cottage Country” is a twist on your usual cottage in the woods movie. Typically in films like “Sleepaway Camp” or “The Hills Have Eyes,” groups of feral teens weekend at a remote cabin, only to find their mortality at the bottom at of a bottle of Jägermeister.
“Cottage Country” is different, at least for the first twenty minutes or so. There are no teens in sight. Instead we’re introduced to Todd (Tyler Labine) and Cammie (Malin Akerman), a tightly wound thritysomething couple on their way to his family’s cottage for a much needed week away.
The yuppie duo has big plans for the next seven days, including a well-thought-out proposal on a romantic island in the lake.
The first clue that isn’t a romantic comedy or a study in proper yuppie lust is Cammie’s prophetic line, “I have a feeling this is going to be our best trip to the cottage ever!”
Instead it’s the beginning of a nightmare trip that turns violent when Todd’s free spirited brother Salinger (Dan Petronijevic) and his morbid girlfriend Masha (Lucy Punch) show up unannounced.
You’ll have to buy a ticket to get the rest of the plot. I won’t spoil any of the surprises contained within beyond saying this turns from country idyll to a study in yuppie rage and duplicity. Prepared to do whatever it takes to ensure future happiness Todd and Cammie reveal their true colours—his lack of a backbone and her obsessive compulsion on following plans to the letter, no matter what the outcome.
Good performances from “Tucker and Dale vs Evil’s” Tyler Labine, “Watchman’s” Malin Akerman and Benjamin Ayres as an unusually observant party guest, help sell the movie’s transition from yuppie rom com to horror show. It’s a slow burn that bridges the gap between the gore (and gory ideas) and the gags.
“Happythankyoumoreplease” is the kind of movie Woody Allen might have made if he wasn’t a genius. Set in New York City it’s a look at the lives of a series of interconnected late-twenty-somethings as they navigate their way from hipsterhood to adulthood.
Writer-director Josh Radnor (who also stars on TV’s “How I Met Your Mother”) is Sam, a freelance writer who “adopts” Rasheen (Michael Algieri), a boy he finds on the subway. The youngster, separated from his foster family, becomes entwined in the lives of Sam’s friends, bartender and singer (and love interest) Mississippi (Kate Mara), Mary Catherine and Charlie a painter and filmmaker played by Zoe Kazan and Pablo Schreiber and Annie (Malin Akerman), a friend with alopecia and her suitor Sam # 2 (Tony Hale). Together and separately they traverse the gap between where they are, and where they’re going.
“Happythankyoumoreplease” is a likeable but slight movie, the kind of indie flick you probably didn’t go see when it played for a week at your local theatre. It starts off strong as we get to know the characters but by the time Sam and friends, by sheer repetition, have burned the hipster mantra “awesome” into your deepest consciousness, the movie wears a little thin.
But what it lacks in real depth it makes up for in charisma. Radnor (who proves himself a capable director) makes for an interesting central character, funny and self-depreciating and Malin Akerman, as the hairless girl with self esteem issues, shines.
In the end if you scratch “Happythankyoumoreplease’s” cooler-than-cooler veneer there is an under coating of heart. It’s no Woody Allen, but worth a look.
Based on a 1972 Neil Simon comedy which was underscored with notes on ethnic assimilation and class structure, The Heartbreak Kid redux has taken a walk through the dirty minds of The Farrelly Brothers and emerged on the other side as a raunchy update that focuses on laughs rather than social subtext.
Ben Stiller plays Eddie, a riff on his usual character—single, insecure and indecisive—who, after a chance meeting on the street, begins dating Lila (Canadian actress Malin Akerman). She’s beautiful, funny and, he thinks, just might be his last shot at finding love. With his father (Jerry Stiller) and best friend (Rob Cordrey) egging him on Eddie proposes to Lila just a few weeks after meeting her. All goes well until their sunny Mexican honeymoon when Eddie meets Miranda (Michelle Monaghan), the woman he comes to believe just might actually be his soul mate.
The Farrelly Brothers are pioneers at this kind of comedy. Ten years ago There’s Something About Mary burned up screens with an irreverent mix of romance and gross-out humor. Since those heady days they have been supplanted by a new generation of directors—The 40 Year Old Virgin’s Judd Apatow comes to mind—who have taken the vulgarity up to stratospheric levels, relegating the Farrelly’s to old-timer status—the all-stars who can no longer hit it out of the park. After seeing this movie Apatow fans will yell, The Kings are dead! Long live the king!
There is some anticipation for the repairing of Ben Stiller with the sibling directors. They haven’t worked together since Mary, the movie that really established both their careers, so expectations are high. Unfortunately, in the ten years between the projects Stiller has developed a comic persona that he brings to virtually every project he’s involved in, and while the indecisive / insecure guy routine worked well in Meet the Parents and its offspring, here it seems kind of stale. His character Eddie is revealed to be a lying cheater and while we’re supposed to find him charming and likable, he comes off as manipulative and creepy.
There’s nothing really that wrong with The Heartbreak Kid. It has some funny moments, just not enough of them. It has some envelope pushing moments, a la There’s Something About Mary, but not enough of them to compete with most of this season’s outrageous comedies. It’s kind of average, offering up laughs here and there, but unlike the recent hit Superbad, there’s nothing here that people will be talking about the next day.
