Connect with us

Film

‘Life of the Party’ Should Have Stayed Home

Jeremiah

Published

on

I left the theatre after watching Life of the Party dazed and confused. As unsure as I was about what I had just seen, I was sure of one thing: I didn’t like it. Life of the Party is an unqualified mess of a movie. It lurches from scene to scene with no real consequence of anything that has happened before. It was dreadful.

The plot, so called, of Life of the Party is relatively simple. Deanna (Melissa McCarthy) discovers her husband Dan (Matt Walsh) wants a divorce mere seconds after they drop their daughter Maddie (Molly Gordon) off at her sorority for her senior year of college. Dan informs her he’s been having an affair with a realtor, Marcie (Julie Bowen). Since the house is in his name, he’s selling it as soon as possible.

So goes the opening five minutes. I might also add the first minutes are one of the few times in which something that happens that has any kind of consequence or connection to later scenes. The rest of Life of the Party deals with Deanna deciding to go back to school and get her archeology degree. A field that apparently Deanna is in love with but only talks about when she is in class. Even then, she and the professor Truzack (Chris Parnell) trade archeology puns.

McCarthy’s Deanna is a wonderful fully fleshed out creation. A ferocious ball of pure love and goodness. Deanna’s sweetness radiates from within as she barrels through one misfortune or another. I’m not exaggerating that her Deanna parallels Charlie Chaplin’s Tramp. One of the great disappointments of Life of the Party is how badly it serves McCarthy and her comedic creation.

At times, I was gobsmacked at how much Life of the Party seems to hate its main character. Ben Falcone, co-writer and director, seems to take great glee in Deanna’s misfortune. As the movie rolls along it begins to warm up to her. I couldn’t figure out if that was by design or just McCarthy’s Deanna forcing the movie to bend to her will. Perhaps this is due to McCarthy being the other co-writer. Life of the Party at times feels like a duel of sorts between two writers of varying sensibilities and cross purposes. The fact that Falcone is McCarthy’s husband only intensifies the mystery.

Then again it could be he doesn’t understand how his camera is affecting our mood. Frequently while watching Life of the Party, characters will say something and the camera will rest on them as if they said a joke. Except since no one behaves as if someone else is in the scene, it’s hard to figure out if what was said was ironic, silly, or just bad writing. I grant you it could easily be all three. Though ‘bad writing’ would imply there is something of a script, which would further imply some kind of structure. I can assure you the implications are misleading.

Take the moment in which Deanna meets Maddie’s sorority sisters. They introduce themselves one by one even though they seem to have no real distinguishing character traits. Helen (Gillian Jacobs) seems older than the others by a good ten years. Deanna asks Helen why she seems older. Helen’s reply of “I’ve been in a coma for nine years,” is mishandled both in framing and in timing. I spent the next ten or twenty minutes trying to figure out if it was a joke or not.

Life of the Party comes so close to brushing up against something resembling a joke that you become exhausted from hoping. Much of the hope comes from McCarthy’s brilliant Deanna, but also because underneath all the sloppiness Life of the Party has a great big heart. Deanna is a cheerleader of other women. The other sorority sisters, who barely have characteristics, much less names, are emboldened by Deanna’s undyingly optimistic outlook on life. She is a woman who has found out her husband has been having an affair, her home will be sold without her consent, and there is precious little she can do about it. Still, Deanna never fails to greet anyone with a smile.

Even the mean girls Jennifer (Debbie Ryan) and Trina (Yani Simone), who have consistently made fun of Deanna, eventually give way to her sunny disposition. When Jennifer and Deanna first meet in the archaeology class, Jennifer makes a snarky comment about Deanna’s clothes. Deanna’s response is a simple gasp, “Oh, we’re still doing that? We’re still attacking other girls for no real reason. Well, that’s nice to know.”

McCarthy’s Deanna bends the movie and the characters within in it, to her worldview. Disappointing because so much of it simply doesn’t work. I sat there watching the images flicker on the screen and came so close to laughing I became a little disheartened. No one likes to hate a movie, especially a movie as chock full of talent as Life of the Party.

Deanna’s best friend Christine (Mya Rudolph) is another rare bright spot. Of the three times I did laugh, two of them were scenes involving her foul-mouthed but supportive middle-class housewife. In one scene in particular, Christine and her husband Frank (Damon Jones) are at dinner with another couple and Deanna. Dan and Marcie show up and announce their wedding plans.

The scene only becomes more awkward. The waiter shows up and we see it’s Jack (Luke Benward), Deanna’s college boyfriend. In what I must admit is a hilarious twist, we also learn something else about Jack. I won’t spoil it, suffice to say if the rest of the movie was as funny as that scene I would be writing a much different review.

It should be noted that the scene is as funny as it is because it’s one of the few connected to other scenes. We have a set up for it. The people in the scene have a shared history and actually interact with each other. As opposed to the rest of the movie where one person says something mean or weird, then cut to a reaction shot. Followed by someone else saying weird or mean. Rinse and repeat.

In the interest of full disclosure, the other man in the theater with me was a man I was talking with at the bar. The bartender jokingly suggested I buy him a ticket to the show. The stranger perked up. It so happened I had an extra ticket and so we saw the movie together. With twenty minutes or so left to go, the stranger abruptly and silently stood up. He stared at the screen in deep contemplative silence. Without saying a word to me or the screen he turned and walked out.

Afterward, as I left the theater the bartender apologized to me. He hadn’t meant the stranger to take him seriously. I told him it was alright. We walked out together and there outside sitting on the bench was the drunk man who I just spent the last couple of hours with. His face was slacked and his eyes glassy. I waved goodbye to him. He waved goodbye back. A look of sadness and disappointment in his eyes.

It was a look I knew intimately. I had the same look on my face. Part of the sadness had to do with the loss of time that can never be regained. But the other part was seeing great talent spin its wheels in hopeless aimlessness. Life of the Party is a mess of good intentions and bad filmmaking.


Image Courtesy of New Line Cinema

Jeremiah lives in Los Angeles and divides his time between living in a movie theatre and writing mysteries. There might also be some ghostbusting being performed in his spare time.

Advertisement
Comments

Film

‘Deadpool 2’ Plays With Us and Itself

Jeremiah

Published

on

Deadpool 2 is a thoroughly violent, raucous, hilarious meta heartfelt meditation on trauma and family. A giddy middle finger to the self-serious offerings from the Warner Brothers/DC movies. It’s also a glorious raspberry to the convoluted and lazy scriptwriting of Marvel’s latest Avengers movie. More importantly, it shows both studios how it’s done.

For all it’s irreverence and wacky fourth wall breaking, Deadpool 2 has a structure it stringently adheres to. By ‘structure’ I mean that it takes its time setting up and exploring characters and situations while still maintaining a sort of breathless nihilistic glee. It has time travel, but there are rules and consequences. Deadpool may have regenerative powers, but that doesn’t mean he is indestructible.

Wade Wilson (Ryan Reynolds) as Deadpool is meant to be a sort of satiric caricature. He’s a comic book character who knows he’s a comic book character. The madman who knows more than anyone just how mad he is. The first Deadpool got a lot of mileage out of playing with this notion. At times Deadpool felt like a looney tunes cartoon on acid with Barry Manilow as the soundtrack.

Deadpool 2  leans into this sensibility while also showing the character is actually quite fertile for growth. Unlike his counterparts, Deadpool spends his time not helping people so much as murdering bad people who have hired him to murder other bad people. Any heroics that happen to be achieved are purely accidental and probably in the vein of Wade’s self-interest.

At least until Vanessa (Morena Baccarin), Wades vulgar cynical soul mate is gunned down in their apartment. Vengeance bound, Wade quickly runs her killer down and doles out his own particular brand of justice. Distraught and morose Wade attempts suicide in a way that feels utterly cartoonish but wholly organic to Deadpool.

Colossus (Stefan Kapicic) arrives to put Wade back together again, literally. Deadpool 2 zigzags through genres and tropes, but it never feels as if it just merely checking off boxes. With each zig and zag, we find our expectations thwarted.

Reynolds is so perfect as Wade Wilson that it’s less acting and more laconic conjuring. The Deadpool mask covers his face entirely yet somehow we can feel the manic toothy grin all but strain against the red blood soaked fabric. The comedic timing is pristine, but it never comes at the expense of the pathos of Wade Wilson.

What is sometimes forgotten is that without his powers Wade Wilson is just a man dying of cancer. David Leitch brutally reminds us when Wade is forced to wear a collar that inhibits his regenerative capabilities. Stripped of his suit and his ability to heal he is instead just a man constantly on the edge of death. Remarkably though, Wade never ceases to be Wade. Though riddled with cancer and self-pity the humor and allergy to authority are never gone.

Colossus and his protege, the epically named, Negasonic Teenage Warhead (Brianna Hildebrand) drag Wade kicking and screaming to Xavier’s Home for the Gifted. Deadpool is an anarchic cyclone of murder and chaos. Predictably he bristles at Colossus rules and orders of how things are done.

A petulant Wade stomps around the mansion, his only source of joy is Yukio (Shiori Kutsuna), Negasonic’s girlfriend. Yukio and Negasonic are rarely, if ever, not in the same frame holding hands. A couple so cute and perfect even Wade is forced to smile and cheerlead the two.

Part of Wade’s X-Men training has him showing up to help a young boy Russell (Julian Dennison). It’s here Deadpool 2 begins to hint at something deeper. A young mutant with the ability to shoot fire from his fists seems hell-bent on destroying everything in his path. As a trainee, Wade is thrown into the situation to try and talk the kid down. Because all Wade does is talk he’s able to discover the boy is being abused. His anger is valid and the destruction merely a cry for help.

Deadpool 2 has stakes. The stakes aren’t the end of the world or galaxy threatening, thank God. Rhett Reese, Ryan Reynolds, and Paul Wernick’s script instead focus on something the superhero movies with a couple of notable exceptions have ignored or forgotten. What does it mean to be a hero?

By design, Deadpool is not meant to be part of a team. Yet Wade desperately wants a family. He and Vanessa were working to have a child before she was brutally gunned down. Much of Wade’s anguish is the loss of the dream of having a family. All corny and melodramatic which is why it’s so brilliant that Deadpool 2 pulls it off not just well but brilliantly.

Cable (Josh Brolin) a bounty hunter of sorts from the future arrives to hunt down Russell. Wade may be crazy, but even he’s baffled as to why anyone would want to kill a  kid. Yet, Wade also can’t keep his mouth shut and alienates Russell when he needed Wade the most.

Brolin does quiet, wordless brooding in his sleep. Likewise, Cable is a part that fits Brolin like a glove. He struts across the screen with a swagger capped by a smoldering grimace. Charismatic as all hell, Brolin somehow manages to get us to root for him and against him, often within the same scene.

Unlike Avengers: Infinity War, Deadpool 2 slams rules and exceptions on time travel. Its a plot device but not one without consequences. Not only does this raise the stakes but it also draws boundaries around what, when, and where the characters must go to further the plot. The writers are forced to deal with issues both narrative and emotionally as opposed to leaving them dangling or hand wave them away.

What’s more Deadpool 2 has the audacity to switch bad guys in midstream. The evolution of the character arcs of Russell and Cable and how they relate to Wade borderlines on a sort of loony sad poetry. Death surrounds Wade, even as he tries to assemble a team of experts and mutants.

Along the way, Wade meets Domino (Zazie Beetz), whose power is luck, and the plot begins to fall neatly into place. Beetz is a ray of effortless sunshine. She gives Domino a flower child, easy going demeanor who’s not afraid to get her hands bloody.

The culmination of all this time traveling, random death, and wisecracking monologues is Wade’s realization that his actions and words have consequences. Bad guys are sometimes good people, and monsters often look like everyone else.

Leitch paces Deadpool 2 as if it were a manic breeze. He packs the frames with action in the foreground and background. Much like his other movies John Wick and Atomic Blonde he allows us to see the punch and the kicks land. The fights are a ballet of haphazardness. Most superhero fights are like a dance. But when your character is the Tasmanian Devil personified you’re forced to dance the Macera to a Mahler composition played on a flaming tuba with kazoo accompaniments.

Leitch’s biggest accomplishment is following the simple creed of “Let Deadpool be Deadpool,” and all that may entail. Deadpool 2 is a deeply felt violently hilarious melodrama about loss and loneliness. The heavy stuff works not just because the filmmakers know how to balance the tones, though they do.  

It works because the script has slyly laid the groundwork. But it also works because it allows us to not just spend time with Domino, Wade, Cable, Russell, Negasonic, Yukio, and Colossus. But because it allows us to understand why they are the way they are.


Image courtesy of 20th Century Fox

Continue Reading

Film

The Happytime Murders Looks to Murder Your Childhood

Bo

Published

on

By

Following the deaths of the stars of former show The Happytime Gang, two detectives (one human and one puppet) try to solve the murders. Have you ever imagined what Who Framed Roger Rabbit? would be like if it tried to be as crude and immature as humanly possible? Well, that’s what The Happytime Murders looks like. I sure hope the actual movie isn’t as bad as this trailer was.

I suppose the concept could work. Take the idea of humans and Muppets living side by side, make it visually gritty, don’t take yourself too seriously, and really sell the idea of this world’s existence. This trailer seems to do literally the exact opposite of that. I couldn’t watch this without feeling like Happytime Murders just wants to use Muppets to be as shocking as possible in hopes of cheap laughs. Nothing about this trailer made me feel like they tried to make a real world out of this movie at all. I really hope I’m wrong. Hopefully, I am.

If I am wrong, then this trailer was a huge failure. All it did was make me hate the very idea of this movie. I’m not sure I’ve ever rolled my eyes as much as I did during the ejaculation joke at the end. And then they doubled down and did it again. I guess some people will take this less seriously than I do, and that’s fine. No judgment here. After all, humor can be very subjective.

The Happytime Murders hits theaters on August 17. If it’s as bad as it looks here, and Melissa McCarthy somehow makes it work, then maybe consider her for some awards. And if I’m wrong about how bad the movie looks here, then I will happily eat crow about it.


Images Courtesy of STX Films

Continue Reading

Film

The Top 5 Best Portrayals of Sherlock Holmes in Film or Television

Jeremiah

Published

on

Due to scheduling conflicts, Thad and I were unable to record our episode of Beneath the Screen of the Ultra-Critics. We will return in two weeks with an episode about the Hays Code. This time both our voices will be audible, so it doesn’t sound like one long Andy Kauffman style prank.

This week though Thad and I decided, in light of Elementary being renewed for another season, to rank our favorite Sherlock Holmes in film and television. We had one caveat; the character has to actually be Sherlock Holmes. What this means is characters like Dr. Gregory Hous (Hugh Laurie) who are clearly inspired by Holmes are not eligible. Nor is Justin Playfair (George C. Scott) on the list because he only believes he is Sherlock Holmes and that doesn’t count either. Sadly, this means Basil of Baker Street (Barrie Ingham) is nowhere to be found but rest assured he is, in fact, one of the great fictional detectives.

Once again, we blithely court controversy by daring to rank the portrayals of a fictional detective over a hundred and thirty years old.  We fully acknowledge that this is list is the only one of its kind in existence. Which makes our decisions all the more final and inarguable.

5. Basil Rathbone

Sherlock Holmes’s iconic deerstalker hat came not from Doyle, so much as from the illustrations that accompanied the Holmes stories in The Strand. Likewise, the image of Holmes we conjure up in our brain when we think of the Baker Street occupant is more than likely Basil Rathbone’s. Remarkable since, even though Rathbone played Holmes for seven years, few people today have seen or heard of him.

Yet, all prior depictions have been more or less been modeled after his gaunt granite thin-lipped demeanor. The sly sardonic smile and steepled fingers practically thrive in the public conscious when we think about the great detective. Rathbone’s performance is lodged in our collective psyche. Holmes is an archetype, and early actors played him as such.

Rathbone’s performance lacks any real complexity, but then again the scripts weren’t calling for it. They called for a simmering and brooding Holmes with acidic quips and sharp denunciations and that’s what Rathbone gave us. More than any physical attribute, it’s how he walked at the clipped pace and held himself on the edges of the frames. When Rathbone played Holmes, it was less a character and more a calm and collected wraith.

4. Robert Downey, Jr.

Far from the first American to play Sherlock Holmes, Downey brought his singular energy and presence to the role. Guy Ritchie’s Sherlock Holmes pay little heed to Doyle’s original source material. But through it, all Downey gives us delightfully fun and impish Holmes.

Arguably Downey’s Holmes is the least mature on the list. Ritchie’s characters tend to be the types found on the floors of local bars near closing time. The contrast between Doyle’s staunch upper-class tendencies and Ritchie’s deeply embedded working-class humor leads to a weird adventure yarn more suited for a Doc Savage book than a Sherlock Holmes story.

Downey pulls it off. His Watson (Jude Law) hews much more to the stuffy tweed wearing visage of his origins. Mixed with Downey’s street brawler Holmes though the two make the whole thing feel like an idea Shane Black had but never got around to working out. Downey’s performance seems to hint at the Holmes imagined by Doyle more than any other before or since. Less a faithful hew to the performances before him, Downey’s Holmes was a punk rock rebel.

3. Sir Ian McKellen

Of all the movies about Sherlock Holmes, I find none of them as haunting and beautiful as Bill Condon Mr. Holmes. Less a faithful adaptation of the source material and more of a meditation on Holmes himself. Mr. Holmes none the less is a moving story about the great detective nearing the end of his life.

Sir Ian McKellen plays Holmes stripped of his pretenses. His determined gait and calculated movements now replaced with shaky hands and a walking stick less for show and more for necessity. Filled with regret and longing for the choices he’s made McKellen’s Holmes is a tragic melodramatic figure. Old age and dementia are raving the once great mind.

Condon plays with us as he intertwines the memory of Holmes and our expectations of Holmes laced with Holmes disapproval of the public’s perception of him. Staying with a widow and a young boy he finds himself enjoying their company. When the boy lashes out at his mother, Holmes demands he apologizes.

“Go after her. You must apologize for saying things that were meant to hurt. You were cruel. If you don’t apologize, you will regret it.” The boys scoff at the old man. “People always say that.” “Because it’s true.” Holmes snaps.  When the boy asks if Holmes regrets anything, “So. Much.” McKellen’s Holmes is a man who realizes his loneliness is of his own doing.

2. Jonny Lee Miller

Elementary is far and away the most complex and adult modern adaptation of Sherlock Holmes. The picture of Holmes (Jonny Lee Miller) with Watson (Lucy Liu) is apt. Unlike almost every other adaptation Watson is viewed as an equal part of the Holmes narrative. What we get is not just a Holmes story but a Holmes story about his relationship with another person who challenges and supports him at the same time.

He’s a fully functional adult who’s struggling with addiction. Holmes forthright struggle with addiction humanizes him in a way most other portrayals fail. Earlier Holmes either downplay Holmes drug abuse, such as Steven Moffat’s Sherlock. Or flat out ignore it.  By addressing it and understanding that addiction is a lifelong progress, Elementary forces Sherlock to evolve not just as a character but as a human being.

Miller brings a wounded and confused anxiety to his Holmes. People are more than puzzles to him—they represent possibilities. He trains Watson because she shows an intellectual aptitude and a moral fortitude to what Holmes believes to be a higher calling, a private detective. His Holmes understands intelligence is something that is both inherent and taught. Miller’s Holmes is often the smartest person in the room but rarely is he the only smart person present.

 

1. Jeremy Brett

Of all the Holmes on this list, none of them capture the mercurial enigma that is Jeremy Brett’s, Sherlock Holmes. His Holmes bubbles with glee and excitement underneath his quivering jaw. Cool and calm under fire but un-hesitant to leap to the floor crawling at the floorboards to reveal a hiding spot. Brett fumes with a manic energy that brings an entirely fresh and singular vision of Holmes.

Far from the stiff upper lit Londoner, Brett’s Holmes has a twinkle in his eye. A hunger for the rages within his breast as he shares with Watson how he had figured all out. Yet, much like Miller’s Sherlock, Brett also has a great humanity within him. The Case of the Blue Carbuncle, in particular, shows him scouring the London streets on Christmas Eve to help out a local policeman who’s come to him for help.

The Case of the Six Napoleons reveals to us the complex sensitive and egotistical side of the great man. Inspector Lestrade compliments Holmes on his deductive work. “We’re not jealous of you, you know? No sir, we’re proud of you.” Brett’s cool demeanor cracks as he receives validation from a source he respects very much. Brett’s Sherlock is quite simply a marvel of restraint with sudden outbursts of great emotion. Rarely has the great man ever been portrayed with such passion, glee, and deep sympathetic humanity.


Images courtesy of CBS, Miramax, and Warner Bros.

Continue Reading

Trending