Tag: Greece

MY BIG FAT GREEK WEDDING 3 – Review

(L to R) John Corbett as “Ian”, Maria Vacratsis as “Aunt Frieda”, Melina Kotselou as “Victory”, Nia Vardalos as “Toula”, Elena Kampouris as “Paris”, Andrea Martin as “Aunt Voula”, and Elias Kacavas as “Aristotle” in writer/director Nia Vardalos’ MY BIG FAT GREEK WEDDING 3, a Focus Features release. Courtesy of Yannis Drakoulidis / Focus Features

Did we need a MY BIG FAT GREEK WEDDING 3? Somebody thought so. Sure, the first one was charming, a word-of-mouth surprise hit romantic comedy, with both laughs and love in a big, close Greek-American family, when a young woman, Toula Portokalos (Nia Vardalos), upends family expectations by marrying a non-Greek man, Ian Miller (John Corbett). There has already been one sequel, and despite the sequels’ titles, Toula is not getting married again, as she is still married to that first non-Greek guy from the original movie. What both sequels do is let us spend more time with the large, close Portokalos family as Vardalos mines it for comedy, inspired by her own Greek-American family. Vardalos wrote as well as starred in the first two but she adds director to her credits for this new one. This time, Toula, Ian, and some of her family, including the couple’s college-age daughter Paris (Elena Kampouris), travel to Greece for a family reunion in her late father’s hometown.

MY BIG FAT GREEK WEDDING 3 is a harmless, warm, feel-good movie that revisits this close-knit Greek-American family, but there are few big laughs, mostly chuckles and warm feelings, amid the beautiful scenery. The plot makes little sense and exists mostly as a framework for the comedy and romance, and yes, there is a wedding. Again, the family is the source of the humor, particularly over-sharing Aunt Voula (Andrea Martin) with her pal Aunt Frieda (Maria Vacratsis), and Toula’s oddball younger brother Nick (Louis Mandylor) who provides much of the weird humor with his tenuous grasp of appropriate social behavior, and a penchant for both unexpected nudity (in PG-13 form) and public personal grooming. The romance aspect centers on some younger members of the extended family, including (but not only) the couple’s daughter Paris, who just broke up with her Greek-American boyfriend, Aristotle (Elias Kacavas), yet finds him tagging along on the trip, thanks to her Aunt Voula, who has hired him as her travel assistant, in a match-making ruse.

Arriving in Greece, they are greeted by the mayor of Dad’s home village, a quirky, enthusiastic young woman named Victory (Melina Kotselou), who transports them to the island village by way of a colorfully decorated but decaying truck. In the village, there more friends and relatives, and some surprises. Toula hopes to find her father’s three childhood playmates, and give them a journal her father kept of his experiences in America, as he wished.

Fans will be pleased that many of the cast from the original have returned, and they are joined by new characters too. The film deserves credit for largely casting Greek actors or ones of Greek ancestry (or at least Greek names) for the Greek and Greek-American characters but, alas, no Tina Fey (yes, she’s Greek ancestry). Returning cast includes Lainie Kazan as Toula’s and Nick’s mom Maria but while Maria is in the movie, Mom is in poor health and doesn’t go on the trip. Missing is their Windex-wielding father Gus, played by the late Michael Constantine. Constantine was the great charmer of the first film, and the father-daughter relationship was a big part of its appeal, so his absence leaves a big gap, even though his memory is a constant presence in this third comedy.

Filmed on location in Greece and vicinity, beautiful scenery abounds, adding a special visual delight to the film’s lovely art direction, and perhaps even making the audience feel a bit like they have joined the family on vacation. But while the locale is fresh, the humor is familiar as it continues on its journey with Toula’s big, fat Greek family.

If you enjoyed MY BIG FAT GREEK WEDDING 2, you likely will enjoy this sequel too. It offers warm, mild enjoyment if you just want to spend more time with the Portokalos family but don’t expect the big laughs and charm of the first one.

MY BIG FAT GREEK WEDDING 3 opens Friday, Sept. 8, in theaters.

RATING: 2 out of 5 stars

GLASS ONION: A KNIVES OUT MYSTERY – Review

As the temperatures continue to dip, and some parts of the country are neck-deep in snow, a great way to spend the day is to curl up next to the fireplace, or space heater, with a mystery. Perhaps it’s one featuring a familiar investigating sleuth. Well, if you can make it out to the multiplex, then there’s a cinematic equivalent around for just a week, Oh, and the sleuth’s only been around since 2019. That’s when a filmmaker who just survived an entry in the biggest movie franchise ever, decided to create his own modern version of those Agatha Christie “all-star whodunits” (mind you that Kenneth Branagh had just donned the “stashe” for a new series). Well, it was a hit, so he and his hero star have returned with GLASS ONION: A KNIVES OUT MYSTERY. Let’s find the clues and keep track of the suspects…and victims.

Talk about being modern! It all begins right in the middle of the height of the Covid pandemic. Political candidate Claire Debella (Kathryn Hahn) gets a delivery that’s definitely not what she ordered from Amazon. It’s a large, apparently solid (no lids or hinges) wooden box sent from an old friend. Immediately she gets into an online conversation with the other old friends who were in the sender’s group. There’s Birdie Jay (Kate Hudson), a former fashion model turned high-fashioned designer along with her aide Peg (Jessica Henwick), scientist Lionel Toussant (Leslie Odom, Jr), and Duke Cody (Dave Bautista), social media agitator/ men’s rights activist, who lives with his girlfriend media/co-creator Whiskey (Madelyn Cline) at his mom’s house. They soon figure out how to open the box which contains several puzzles that reveal an invitation to the island home of their old buddy, tech mastermind billionaire Simon Bron (Edward Norton). Oh, someone else, a stranger to them also gets the box: famous detective genius Benoit Blanc (Daniel Craig). It’s not long before they’re all on a dock in Greece awaiting the transport boat to Bron’s island when all of them are stunned by the arrival of another invited guest, Cassandra ‘Andi’ Brand (Janelle Monae). Why stunned? Andi had sued Simon claiming that he stole her idea for the software that made Simon so rich. The group is greeted by their host at his lush resort-like island who tells them that they will be part of a fun “murder mystery” game. Still, Simon wonders why the “pro”, Blanc, is there. Of course, he easily wins the game, but things take a dark turn when a real murder occurs. Over the course of a long night (no boats can handle the tides till morning), Blanc puts his skills to the test to find a real killer before he, or she, strikes again.

Although it is a new, very different, case most film fans will focus on the return of that Southern-fried Sherlock Blanc played with a long drawl just a bit west of Foghorn Leghorn by Craig. And he appears to be having a blast not dodging bullets as that gentleman secret agent (his biggest risk here is trying to find a place to fire up a massive cigar). It’s a treat to see Craig indulge his comic talents as he goes from genteel to annoyed and outraged. Matching his intensity is Monae, who views everyone with apprehension and refuses to be the victim, not only of murder but intellectual thievery. As that thief Norton also seems to be having fun with his usual intellectual characters, making Bron a pompous “showboat” who’s not nearly as clever as he believes. His glee is close to that of Hudson as the high-fashion dimwit who is oblivious to the world’s sensitivities. Plus she makes a good duo with Henwick’s Peg, who wants to take a more aggressive and violent response to the situation. Now Birdie’s a beacon of tolerance compared to the near-neanderthal Duke played with lunk-headed confidence by the very funny Bautista. His blustering keeps us from wondering if pools and pistols are a great mix. Yet somehow he captures the affections of Cline whose sultry Whiskey may be a more deadly weapon than his sidearms (and she’s more than “side candy”). And it’s always great to see solid supporting players like Hahn and Odom, although the politico and the grim scientist aren’t as enjoyably wacky as their cohorts.No spoilers from me, but keep your eye, and ear, peeled for lotsa’ fun cameos.

This extraordinary cast is led and perhaps inspired, by director Rian Johnson, who also penned the very witty script. Sure, it’s a pretty great whodunit, but it’s also a wonderfully satiric comedy skewing social mores and media, from the pandemic to toxic tweets, while taking well-deserved aim at the “one-percenters”. Hmmm and just days after the also clever dark comedy THE MENU, which also involves an island and foul play amongst the “well-off”. Smart minds think, not alike but on “shared wavelengths”. The “icing on the cake” for this romp are the wild costumes (Birdie’s just a burst of flesh and pastels) and the gorgeous Greek locations (now there’s a beach backdrop for Bron’s excessive tribute to his genius). If you enjoyed the first outing, then you’ll relish this bigger, bawdier new caper. My only problem was the somewhat downbeat ending. Mind you the culprit’s revealed, but the world pays a hefty price for their indulgences (can’t say more). Everybody’s having a splendid time which is quite contagious as fans will be watching with engaging grins. This is another Blanc tale in the works, but it will be tough to top the marvelous mirth of GLASS ONION: A KNIVES OUT MYSTERY.

3.5 out of 4

GLASS ONION: A KNIVES OUT MYSTERY opens in select theatres for one week only beginning on November 23, 2022

THE TRIP TO GREECE – Review

So, this Friday is the beginning of the three day weekend that usually kicks off Summer vacation time. But with the lockdown somewhat still in effect (parts of the country are testing the “re-opening waters”), every day feels part of a “stay-cation” holiday as the luggage continues to gather new layers of dust in the back of the closet. Well, there’s always a virtual “vacay” via streaming services. Now, we’re not talking about a collection of the old travelogue film shorts we sometimes see between the features on the TCM cable channel. Nope, this is a brand-spanking’ new flick shot before the world changed (nearly to a standstill), but with a couple of most familiar and entertaining guides. We know that because over the last decade we’ve joined them (as a “fly on the wall”), first through the British Isles, then to Italy, again in Spain. Time to get our “cinema passports” in order as Steve Coogan and Rob Brydon explore the sights and sounds (and, oh, the tastes) of the land a bit further East as they take THE TRIP TO GREECE.

In the three years since their trek to Spain some things have changed with Steve and Rob, while their relationship, full of affectionate but often stinging barbs, has remained fairly constant. As they meet up in Troy for another “magazine assignment”, Rob reluctantly leaves the renewed romantic bliss with his wife Sally (Rebecca Johnson), though he hints that she may join him towards the end of the “gig”. Steve’s mind is also occupied with home matters of a darker tone. The health of his father is failing, so he checks every few hours in with his son Alexander (Michael Towns), who is watching over “grand”, in his absence. Much of that is pushed aside as the old “mates’ grab a rental car and careen over the twisty two-lane roads while riffing on favorite celebrity impressions and compare tidbits of Greek history. Rob is pleased with his own career, happy to be pegged as a “working class, regular bloke” comic performer, while Steve still is trying to establish himself as more than a “funny man”, but rather a serious multi-faceted “artiste”. In the last trip he was reveling in the critical acclaim of PHILOMENA, which he wrote and co-starred in, now it’s all STAN & OLLIE and his awards and accolades, though Rob believes it was all “comic mimicry”. At one stop they meet a recent co-star of Steve’s, Kareem Alkabbani from GREED (which I reviewed a couple of months ago) and offer him a ride. When they drop him off at his destination, Rob delights in his observation that Steve doesn’t recall working with him…at all. As they trace Odysseus’s trail from Troy to Ithica, they dine at 5-star gourmet restaurants, “bunk” in superb hotels and inns, and hike up hills and through brush (sweating and huffing the whole way) to explore ancient ruins and historical sites. The dynamic changes as they meet up with Steve’s assistant Emma (Claire Keelan) and magazine photog Yolanda (Marta Barrio) for some on-location pics. The fellows become more aggressively competitive and even engage in a swimming challenge in the crystal blue waters. But soon that dreaded call comes for Steve and he’s got to cut their adventure short. But how will tragedy change this rivalry/friendship?

Once again, the real “travel organizer” is director Michael Winterbottom, who keeps us bouncing from several different backdrops on a brisk pace, lettering us savor the new locales (for the series, though they may be the most ancient) and the talents of the two explorers. Along with the unique destination, this excursion has a more somber “sidebar” as fate drains some of the endearing pomposity from Coogan. Of course Brydon does his best to “pop that SC balloon” in the opening moments during the talk over the latest critical darling, twisting it into Laurel and (Tom) Hardy (as always, still muffled in his Bane muzzle). And due to his family situation, Coogan tries to “push back” against his own mortality, insisting that he could “cliff dive” with the local twenty-somethings, despite his exhaustion during the many trail hikes. As with the earlier adventures, the arrival of Emma and Yolanda jolts the “boys” into extreme “one-ups-manship” and a big race. Things might have gotten too downbeat if not for the shimmering cinematography by James Clarke of the lovely locales and locals (the camera adores several sultry servers) and the culinary artistry of the chefs (though the lamb and seafood dishes didn’t have the tastebuds exploding as with former treks). And kudos to editor Marc Richardson for the sprightly kitchen montages (more like a close-quartered dance) and bountiful backdrops (especially at sunset). Speaking of, the travelers have publicly stated that this is the last of the outings. I’m still hopeful they may reconsider. Can you imagine the two riffing over delectable Asian dishes or perhaps steaming bowls of borscht or goulash? More than the meals, it would mean some more time with a duo who have become a most endearing comedy team for the new century, two caricatures of their public personas, the prickly self-aggrandizing Coogan and the irrepressibly upbeat Brydon. It’s a gorgeous country, but the best part of this getaway is being the third wheel to Steve and Rob on THE TRIP TO GREECE. Opa lads, and keep those passports handy!

3.5 out 0f 4

THE TRIP TO GREECE is in select theatres and can be ordered as a VOD on most cable and satellite systems and streamed on most digital apps and platforms.

GREED (2020) – Review

So the title of this new comedy refers to one of the “seven deadly sins” as labeled in most Christian teachings. In these times the word’s a bit more complicated. After all, fictional real estate mogul Gordon Geeko, in an Oscar-winning performance by Michael Douglas, proclaimed that it is “good” in one of the most quoted scenes from Oliver Stone’s 1987 classic WALL STREET. Another take on that word now comes from two-thirds of the trio responsible for a delightful series of comedic travelogues that began ten years ago with THE TRIP. But they’re not going after Stone’s street, rather they’re taking aim at Great Britain’s avenue of haughty fashion retail shops, High Street. And as you might have guessed, this isn’t a remake of the Erich von Stroheim silent 1924 epic. The sin’s much the same, but this is a completely different take on GREED.

In the opening moments, we see a TV news report touting the success of the big fashion line from High Street staple Sir Richard McCreadie (Steve Coogan). Video of the big company shareholders’ party shows him handing out over-sized checks to supervisors and board members including his wife Samantha (Isla Fisher). Watching the report from his tiny apartment is writer Nick (David Mitchell), who is in the middle of his latest book deal, authoring a biography of said tycoon. The film then flashes back to Nick interviewing Richard’s past business associates and a few family members, and includes scenes of a young Richard (Jamie Blackley) conning classmates at his posh prep school before being expelled, with his mum Margaret (Shirley Henderson) deriding the headmaster. As Nick boards a plane to Greece, where a lavish 60th birthday celebration for Richard will be held on the island of Mykonos, we learn more of the mogul’s business past, lowballing clothing companies, pushing out competitors, low bidding “sweatshop” factories in Sri Lanka, bankrupting several shops and fashion lines, and getting a “rap on the knuckles” from the British courts. On the island , the McCreadie staff is in a panic trying to push the local laborers and craftsmen to finish a recreation of a Roman collesium in the next two days. It’s a party inspired by their boss’s favorite film GLADIATOR, complete with an old lethargic lion. Soon the McCreadie family begin arriving on different yachts. First, it’s Richard with his mistress, supermodel Naomi (Shanina Shaik). Then it’s estranged wife Samantha with her new French beau (yes, she and Richard are only married in the legal sense as he’s using her as a tax shield). Surly son Finn (Asa Butterfield) drops in as does the huge entourage (including the film crew of her “reality” TV show) of his sister Lily (Sophie Cookson). The planners are put through more agita as they try to deal with the refugees that are legally allowed to set up camp on the public beaches. But surely all will be ready for the world to witness the adoration of the famous and powerful for the “birthday boy”. But will this finally erase his nickname of “Greedy McCreadie”? It just might, unless something goes wrong…

Once again Coogan proves himself to be the comedy king of self-absorbed pompous jerks (talking of his roles, of course). With McCreadie, he ventures into cartoonish grotesquery with his over-sprayed tan and ludicrous blinding-white choppers (makes Sandler’s dental deceit in UNCUT GEMS look restrained). Perhaps this is to heighten the character’s disconnection with humanity and exaggerate his buffoonish braying and boasting. Sure he’s just as clueless as Coogan’s other comic turns, but unlike Alan Patridge and His caricatured persona in the TRIP flicks, there’s few redeemable qualities in McCreadie, all that’s there is an avarice ego-driven monster who lives to cheat anyone of the few possessions they need. The faults of his family and various sycophants pale next to this modern ogre. Henderson as his devoted, enabling mother proves that the apple doesn’t fall that far at all. She emits a true toxic energy casting a pall over any scene she waddles into. Fisher ‘s a delightfully daffy social climber whose heart (buried deep in her latest surgical …um…enhancements) still somehow longs for eventual ex. Meanwhile Butterfield, as their son, seethes with contempt, miserable as he must endure his Daddy’s taunts and tirades. Cookson scores lots of laughs as the typical “spoiled lil’ rich girl” who just can’t emote for his reality show’s “storyline”. Mitchell makes an awkward investigator who, with his clumsy, often witty musing, is a true fish out of water. The plot’s dramatic subplot is expertly carried by Dinita Gohil as Amanda, ex-retail store manager who’s now part of an army of personal assistants. She knows the true consequences of McCreadie’s dealings and may find a way to hasten his much-delayed comeuppance.

Director Michael Winterbottom, who wrote the script with an assist from Sean Gray, appears to be juggling the styles of several other iconic comedy filmmakers. Nick’s inquiries and interviews are much in the vein of Christopher Guest’s “mockumentaries” with the cuts from the “talking heads” to the scenes of McCreadie’s corruption. As the prep for the party amps up, Winterbottom adds to the chaos via the overlapping dialogue techniques of Howard Hawks and especially Robert Altman (with some of the thick accents I had a tough time grasping some gags). Still the film falters a bit when it explores several real-life tragedies, especially with the families stranded on the beach, although their exploitation by the reality show is a needed jab at publicity-starved celebs using those really starving. That’s when story is set aside for the film’s real agenda. It’s hammered (or pummeled) home during an interminable “fact-montage” preceding the end credits pointing out (over and over) the massive gap between those who make the clothes and those that sell and model them. The producers must assume that we didn’t come away with that from the film’s previous 95 minutes. Perhaps part of that sequence could have been whittled down in order to spend the time and budget on that inept CGI lion (I may owe the cartoon Buck the dog in CALL OF THE WILD an apology). Yes, this is a satire on society, but the true ugliness of the subjects (and their real-life inspirations) works against the comic tone of the tale. What should be a banana peel pratfall of a stuffy rich guy turns into a gruesome evisceration. Coogan’s always a watchable performer, but the heavy-handed GREED is just not (here’s Gecko again) “good”.

2 out of 4

GREED opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

Review: ‘My Life in Ruins’

mylifeinruinsmovie

If you saw ‘My Big Fat Greek Wedding’ and you liked it then you’re probably going to see ‘My Life in Ruins’ as well. If this describes you, then you’ll probably like this movie, but its not quite as “on the money” as ‘Greek Wedding’ so I don’t foresee the box office being as staggering of a success as ‘Greek Wedding’ was. ‘My Life in Ruins’ marks the big screen return of the beloved 47-year old Canadian that everyone fell in love with from ‘My Big Fat Greek Wedding’. What…? You didn’t know Nia Vardalos was a Canuck?

The story follows middle-aged American Georgia (Vardalos) who is living in Greece and working as an under paid and under appreciated tour guide to make ends meet while trying to land a professorship teaching collegiate ancient history. Georgia is incredibly knowledgeable but lacks the natural flair and fun-loving personality that makes a successful tour guide, which consistently gets her stuck with the “loser” groups of tourists that only want to shop for souvenirs.

‘My Life in Ruins’ revolves around her experience guiding Group B on what she decides will be her final tour before quiting to pursue her teaching career full-time. Her regular bus driver is in jail, so she gets stuck with a creepy, hairy silent replacement named Poupi (Alexis Georgoulis) and a beaten old bus with a busted air conditioner. Even worse, Group B is perhaps the most annoying and troublesome tour group she’s ever had. The group consists of the British upper class Tullens and their manic-depressive daughter Caitlin, the Spanish duo of hot divorcees Lala and Lena, Marc the obsessed IHOP franchise salesman, Sue the elderly kleptomaniac and her frail husband Ken, and Gator the dim-witted frat-boy college football jock.

Some of the best parts of the movie however belong to three actors. Kim (Rachel Dratch) and Big Al (Harland Williams) play the ignorant annoying American couple and dish up a large portion of the laughs, especially from Williams who has this type of role mastered. On the opposite end of the spectrum, Richard Dreyfuss delivers an enjoyable performance as Irv, an obnoxiously playful senior citizen who is equally wise as he is funny, or at least as funny as he believes himself to be. Irv becomes something of a manifestation of the Greek philosophy that Geogia attempts to teach her group of tourists, helping her to get past herself and open up to life and its possibilities.

‘My Life in Ruins’ actually starts off slow, struggling to pull its pieces together but does eventually manage to whip itself into shape and ultimately results in a relatively satisfying romantic comedy that is cute, sweet and all that sort of stuff that hits home with the female audiences. While the movie is mostly superficial, there is an underlying quality to the story, especially between Georgia and Irv, that hits a chord deeper than your typical romantic comedy.

One of the best parts of the movie is the breathtaking scenery and the ancient architecture, which for a geek like myself, is almost worth the ticket price alone. Overall, the target demographic for ‘My Life in Ruins’ is obvious and will likely do well, but fear the timing of its release will hold back sales a bit. Some of the humor is a bit forced, but the movie is funny and has enough appeal for both sexes to make it a decent date flick, for those of you looking for an opportunity.