When all is said and done Adam Driver will likely be remembered for playing Kylo Ren, grandson of villain Darth Vader, in the Star Wars movies. The thirty-three-year-old may be best known for the blockbuster role but it does not define his career. For the star of this weekend’s Logan Lucky, it’s all about a love of acting.
“For me the doing of it is the best,” he told me at last year’s Toronto International Film Festival. “The things surrounding it don’t matter. Trailers, money, they don’t matter if you get to work with really great people. Hopefully what you’re making is bigger than any one person and it feels relevant, as much as you can attach meaning to your job. The love of collaborating with people who are on the same page is really exciting.”
Perhaps his collaborative spirit came from his time in the United States Marine Corps. Driver, like many young people in the aftermath of 9/11, joined the marines but an injury during a training exercise ended his military career after just three years.
“With the military I grew up very fast,” he says. “Suddenly I was responsible for things that aren’t typical for eighteen or nineteen year olds. Other people’s lives and things like that. It ages you. I loved being in the military but when I got my freedom and could be a civilian again I was interested in perusing acting. I had tunnel vision and there was a big learning curve of learning to be a civilian again; it’s not appropriate to yell at people, people are people and I can’t force my military way of thinking on them. There were a lot of things going on. I am better adjusted now.”
Post marines Driver studied at Julliard—“Believe it or not being in the military,” he laughs, “is very different than being in an acting school.”—became one of the breakout stars of HBO’s Girls and worked on the big screen with luminaries like Steven Spielberg, the Coen Brothers, Martin Scorsese and Logan Lucky director Steven Soderbergh.
“It’s a director’s medium so if I get lucky enough to work with great directors, that’s the only thing as far as a game plan I have,” he says. “I have gotten to do that with really great people and it feels good. I’m lucky in that I get to choose things now, but choose things from what I’m offered. The scale doesn’t matter.”
Since his professional debut in 2009 Driver, who his This Is Where I Leave You co-star Jane Fonda calls, “our next Robert De Niro plus Robert Redford,” has carefully curated a career. From multiplex fare like Star Wars to art house offerings like Paterson and Frances Ha he is driven by artistic demands more than box office returns and immediate satisfaction.
“Really great movies have a longer shelf life,” he says. “You come back to them later and find new things in them. So many times you watch a movie and you’re not ready for it and you come back to it later because you’re a different person and suddenly it speaks to you in a different way. When they are well crafted they have that shelf life whereas a lot of things are made for one weekend.”
Director Steven Soderbergh’s biggest box office came courtesy of the glossy “Ocean’s Eleven” series. His new film sees him revisit similar territory but don’t expect a carbon copy of his biggest hits. “Lucky Logan” is a down-home “Ocean’s Eleven” where some good old boys plan a robbery, but the slickness of the franchise films has been left in the vault.
Channing Tatum is Jimmy Logan, former quarterback and Homecoming King whose glory days are in the rear view mirror. Divorced but devoted to his daughter. He’s now a West Virginia miner laid off from his job of filling in sinkholes at the Charlotte Motor Speedway, home of one of the biggest NASCAR races on the circuit.
His brother Clyde (Adam Driver), a bartender and Iraq War vet whose hand was blown off by an IED, chalks up the job loss to a family curse. The Unlucky Logans have a history of misfortune, one that Jimmy hopes to turn around.
Enlisting his sister Mellie (Riley Keough) and the Bang Brothers, the bleach blonde Joe (Daniel Craig), Sam (Brian Gleeson) and Fish (Jack Quaid), he comes up with an elaborate plan to rob the vault at the Speedway on the busiest weekend of the year.
“Lucky Logan” is a carefully plotted caper flick—although some of the elements of the labyrinthine heist are a little too perfect, relying too much on movie coincidences to be believable—but it’s a loose film with an indie feel. The stars are big but this isn’t a big film. Unlike the sleek “Ocean’s” films, the style of “Lucky Logan” suits its subject. It feels like handmade, blue-collar filmmaking.
Soderbergh’s looseness trickles down to the actors. Tatum and Craig seem to be having the best time, as Driver amps up the sincerity as the younger brother so desperate to live up to big bro’s legacy that he enlisted in the army. Once again (after “American Honey) Keough proves she is a formidable actor and not just Elvis Presley’s grandfather while “Family Guy’s” Seth MacFarlane is suitably smarmy as the owner of a power drink company. Their combined efforts keeps things grounded even when as the caper grows more and more outrageous.
“Lucky Logan” feels like a throwback to the 90s indie scene that made Soderbergh an in-demand filmmaker in the first place. From the Tarantino-esque script—the pop culture references and “Game of Thrones” riffs—to the eye level characters it’s a welcome return.
“Sing,” like the name would suggest, is a jukebox musical. The hits of Taylor Swift, Elton John and even the late, great Leonard Cohen are all present and sung by a lounge singing mouse and an elephant, among others. Think of it as the “Jersey Boys” of the animal kingdom and you’ll get the idea.
“Sing” is Matthew McConaughey’s second animated movie of the year after Kubo and the Two Strings, but the first film featuring his unique vocal stylings. As Buster Moon, a koala who throws a singing competition to save his failing theatre, the Oscar-winner does an a cappella version of Carly Rae Jepsen’s earworm “Call Me Maybe.”
Before the warbling, however, comes the story of Moon’s show business aspirations. As a child he saw Miss Nana Noodleman (Jennifer Saunders) live on stage and immediately fell in love with the theatre. So much so that he, with the help of this father, saved up and purchased the theatre with dreams of becoming an impresario. Trouble is, he isn’t much of a showman. Filled with passion but short on talent, he staged flop and after flop and by the time we meet him he’s dodging calls from his bank as he tries to figure out a way to pay the mortgage. “None of your shows have worked Mr. Moon!” says Judith from the bank. “Better settle your account by the end of the month!”
His great idea? Throw a singing competition with some of the city’s best undiscovered talent and pack his place to the rafters with people willing to hear them sing. It worked for “American Idol,” so what could go wrong? How about an arrogant lounge singing mouse (Seth MacFarlane) with ties to some nasty underworld bears? Or a stage struck elephant (Tori Kelly)? Perhaps an ill-conceived stage design involving hundreds of shrimps and thousands of gallons of water?
Featuring 85 hit songs from the 1940s to the present day, “Sing” also contains a brand new track by Stevie Wonder and Ariana Grande called “Faith” and good messages for kids about not letting fear get in the way of the things you love, never giving up, about following your dreams. It’s a frenetic package that zips along very quickly you hardly notice it’s a ninety-minute movie stretched to a two hour running time. The songs—many of them earworms that will linger for hours after the end credits roll—pad out the action, prolonging the inevitable happy ending.
Two hours for an animated movie that offers something more than catchy tunes and platitudes is fine. Unfortunately “Sing,” while beautifully animated is too concerned with being a crowd pleaser to be about much of anything. It rises to the level above ‘cute’ on the Animation-O-Meter. Some Pixar level subtext is missing. It’s pretty good eye candy and some giggles but not so much funny stuff as you might imagine in a movie that features a pig in gold lamé.
When John Bennett (Mark Walhberg) was a small, lonely child he wished for just one thing—a best friend. His wish came true and Ted (voice of Seth MacFarlane), his trusty teddy bear, came to life. The pair became “Thunder Buddies” for life and the subject of two movies, Ted and this weekend’s Ted 2.
Ted isn’t your usual teddy bear. He smokes pot, swears—imagine rooming with Tommy Chong and Charles Bukowski—and has trouble holding down a job.
In the new film Ted is married to a human woman but under the eyes of the law he is seen as property and not a person. When the couple decide to adopt a child he faces a court battle helmed by a young lawyer (Amanda Seyfried) and a renowned, civil-rights attorney (Morgan Freeman).
Ted may be the rudest and crudest teddy bear to ever star in a movie, but there are loads of other talking teddies that are cool bears and not Teddy Bores. Remember Lancelot from Labyrinth, or the bear in AI: Artificial Intelligence who tells the young robot that 50 years is not such a long time and Winnie the Pooh? Here are three more cinematic bear necessities:
“I’ll never be like other people, but that’s alright,” says the star of the delightful Paddington, based on the much-loved children’s books by Michael Bond, “because I’m a bear. A bear called Paddington.”
The story of Paddington (voiced by Ben Whishaw) the cuddly, orphaned Peruvian bear picks up when he, armed only with a “worrying marmalade problem” and his distinctive red hat, lands at Paddington Station in London. There, a family adopts him and learns to love the little bear, even though chaos follows his every step. The film’s co-star Hugh Bonneville says the Paddington character is so popular he is, “part of the DNA of the UK.”
The movie presents Paddington in his iconic blue duffel coat and red hat but not the usual Wellington Boots because they were not part of the bear’s original design. Manufacturers added his red Welly’s so the toy teddies were able to stand upright.
As voiced by Ned Beatty, Lots-o’-Huggin’ Bear is a Southern accented, strawberry scented teddy who looks cuddly, but is anything but. When a misunderstanding threatens to separate the toys, Woody (Tom Hanks), Buzz (Tim Allen), Jesse (Joan Cusack) and the gang take matters into their own tiny hands but when they meet the huggable but evil Lotso the garbage dump or the attic begin to look good.
“The guy may seem plush and huggable on the outside,” says Buttercup the Unicorn, “but inside he’s a monster.” His habit of throwing toys that don’t please him into “the box” is so evil he’s even been compared to the wicked Governor on The Walking Dead.
Unlike Ted Fozzie the Bear doesn’t work blue. The fuzzy brown jokester has been a big screen star since 1979’s The Muppet Movie where he was discovered by Kermit the Frog doing stand-up comedy in a dive bar. In the film Fozzie drives a Studebaker, but how, exactly, does a puppet manoeuvre a car? The film answers the question—“Where did you learn to drive?” Kermit asks. “I took a correspondence course!”—but the real answer is that the real driver hid in the trunk and drove the car by remote control, using a television monitor to guide his steering.
In the first five minutes of “Ted 2,” Seth Macfarlane’s sequel to the 2012 stoner-potty-mouth-teddy-bear movie starring Mark Wahlberg, there’s a wedding between a stuffed bear and a human, drug use, Flash Gordon, bear porn and a dance number.
Then it gets weird.
To understand how weird it gets, you have to know the history. When John Bennett (Wahlberg) was a small, lonely child he wished for just one thing—a best friend. His wish came true and Ted (voice of MacFarlane), his trusty teddy bear, came to life. The pair became “Thunder Buddies” for life and room and soul mates. Ted isn’t your usual teddy bear. He smokes pot, swears—imagine bunking with Tommy Chong and Charles Bukowski and you get the idea.—and likes to drive and text at the same time.
In the new film Ted is married to Tami-Lynn (Jessica Barth) but when the couple decide to adopt a child it’s discovered that in the eyes of the law Ted is considered property and not a person. John and Ted hatch a plan to fight for the bear’s civil rights in court. “We’ll take it all the way to Judge Judy if we have to,” says John. The only lawyer they can afford is a young attorney on her first case, Samantha L. Jackson (Amanda Seyfried) who shares the guy’s affection for pot (she smokes a strain called Help Me Get Home) and agrees to work pro bono.
Add to that court cases, a wild kidnapping plot, a renowned, civil-rights attorney (Morgan Freeman) and a nutty battle at Comic Con.
Ted journey to personhood begins with as laugh a minute. Maybe even every thirty seconds. Full belly laughs, that go well beyond politically correct to a land where very few comedians fear to tread. There are jokes about race, sexuality, the Kardashians, mental illness and a whole host of “That’s too soon” gags. You will laugh even though you’ll feel bad about some of the things you are laughing at. MacFarlane and his “Family Guy” co-writers (Alec Sulkin and Wellesley Wild) have hit a sweet spot whereby they can use animation and cute teddy bears to push the envelope in very extreme ways. This is not a movie for the easily offended.
Then comes the court case and the movie shifts. The jokes thin out and the subtext about the civil rights of any oppressed people comes front and center. Or at least threatens to for a moment. There are definitely some serious matters afloat here and MacFarlane allows the absurdity of the situation to take a backseat to the issue of basic rights for all people—even if they are bears.
The jokes still come hard and fast, but fewer of them land in the second hour. Perhaps two hours is too long for dirty-mouth stoner bear jokes, or maybe it’s that Wahlberg has less to do here than he did in number one, or that Mila Kunis, so charming in “Ted” is gone, replaced by Seyfried. Seyfried is fine, BTW, and can deliver a joke but Kunis’s relationship with John in the first film provided much of that film’s heart, something part two could use a bit more of.
“Ted 2” has more very funny, very off colour jokes than most movies. Too bad they’re concentrated in the first hour and not spread throughout.
Fans of “Family Guy” already know what to expect from “Ted,” the big screen directorial debut of Seth MacFarlane. As the writer and the voice behind Peter Griffin on that show he has redefined the limits of what is acceptable on prime TV. Now imagine that without a network censor looking over his shoulder. Ladies and gentlemen, I give you “Ted.”
When John Bennett (Mark Walhberg) was a small, lonely child he wished for just one thing—a best friend. His wish came true, and Ted (voice of Seth MacFarlane), his trusty teddy bear, came to life. The pair became “Thunder Buddies” for life, which causes problems when John grows up and moves in with his girlfriend Lori (Mila Kunis). After four years of living with John and the pot smoking, foul-mouthed Ted—imagine rooming with Bob Marley and Charles Bukowski—she becomes fed up, and makes an ultimatum: It’s either her or the stuffed, stoned bear.
The novelty of watching a stuffed bear spout words that would make a biker blush fades soon after the opening credits. After that the movie relies on Seth MacFarlane’s trademarked blend of awkward, inappropriate humor to get laughs, and you know what? It works. I didn’t feel good about laughing at some of the gags, but I laughed.
The movie is structured like a long-form episode of “Family Guy.” There are flashbacks, fight sequences that intentionally go on too long, pop culture references—MacFarlane gives “Flash Gordon” star Sam Jones the biggest part he’s had in twenty years—and the kind of jokes you tell around the water cooler the next day, but only in a whisper. Seth MacFarlane is an enemy of political correctness, and no one or subject is off limits. You’ve been warned.
The movie works best when it is cursing and drinking, but it also has a heart. Sort of like an R-rated “Alf.” Despite the concept—a teddy comes to life and gets high with his owner—the movie is a fairy tale—although a very raunchy one—and wants you to take the relationship between John and the two most important people in his life—Ted and Lori—seriously. MacFarlane eases off on the raunch slightly in the last half-hour to allow the relationship part of the story to take center stage, but ends off with some memorable jabs.
“Ted” must be the coarsest movie to ever star a teddy bear, but beneath the crudeness is a real stuffed beating heart.
“When I’m lyin’ in bed at night,” Tom Waits sang, “I don’t wanna grow up.”
He’s not the only one. In recent years Cineplexes have been overrun by boy-men: adult males who still act as though they’re 16 years old.
This weekend in the Seth MacFarlane comedy Ted, Mark Wahlberg is John, a man-child who had trouble letting go of his childhood teddy bear who came to life as the result of a childhood wish.
He does everything with Ted — including cower when a storm hits. “Thunder buddies for life, right, Johnny?” says Ted. John replies with an answer we can’t print here.
That’s one of the hallmarks of the man-child movie, they’re raunchy.
Step Brothers is a rude and crude arrested development comedy with enough swearing to make Lenny Bruce blush. Will Ferrell and John C. Reilly play spoiled, unemployed men thrown together Brady-Bunch style when their patents wed.
They don’t get along at first — they even try to bury one another alive — but soon their shared passion for karaoke brings them together, like two overgrown kids in a playground.
Adam Sandler has made a career playing testosterone-fuelled men who never grew up. In Mr. Deeds, Just Go with It, The Waterboy and Happy Gilmore he plays characters with the emotional age of a Baby Gap customer, but the classic is Billy Madison, where he plays a hotel heir forced to go back to grade school.
As Sandler was throwing temper tantrums on screen Jason Segel was slowly defining his child-man act. I Love You Man, with its Man Cave and Rush soundtrack, was a warm up to his most grown-up portrayal of an adolescent man. In Jeff, Who Lives at Home he plays a 30-something who lives at home and is obsessed with the M. Night Shyamalan film Signs. Overgrown and underdeveloped he turns an outing to the hardware store into a wild day.
Peter Pan with a plan
The common link to many of these man-child movies is one man — producer Judd Apatow.
• If it ain’t broke… Not since Jerry Lewis has one man made so much money presenting the age-old gag of self-infantilizing on screen.
• Big names. He’s worked with Ferrell, Sandler and Segel, and it was his R-rated The 40-Year-Old Virgin and Knocked Up that gave us Seth Rogen’s brand of prolonged childhood.
• Plans to recruit Paul Reubens? Apatow even recently announced he’s thinking about making a movie with pop culture’s ultimate man-child, Pee Wee Herman.
By Richard Crouse – Metro In Focus
