Isla Fisher – We Are Movie Geeks

JAY KELLY – Review

With all the manic activity, preparations, shopping, and general “hub-bub” that fills the holiday season, most of us have precious little “downtime” to reflect. If you do get a “breather” you might pause to mull over your relationships with family and friends. And perhaps not all those memories are seen through “rose colored glasses”. Yup, regret can be an unexpected source for the end-of-the-year blues. This new film proclaims that those “pangs” can even affect the very-rich and famous. That includes iconic Hollywood “A-listers”, like the title character of this movie. And the “m-word” certainly applies to him because there are few movie stars that have been at the top of the box office longer than that “leading man” with the “matinée idol looks”, Mr. JAY KELLY.

Naturally, when we first meet Jay Kelly (George Clooney) he’s on a movie set, wrapping up his final scene. Right at his side is his devoted longtime manager Ron Sukenick (Adam Sandler), as they hear “Cut!”. Back at his lush estate, Jay meets with his youngest daughter Daisy (Grace Edwards), who’s preparing to join some school friends on a train trip through Europe. Jay tries to convince her to cancel and hang out with him between acting gigs. She declines just as Ron delivers a big bombshell: the director that gave Jay his “big break”, Peter Schnieder (Jim Broadbent), has died. Jay then recalls their last get together when he passed on Peter’s last film project. After attending the funeral, Jay runs into his old acting-school buddy, Tim (Billy Crudup), who suggests that the two get a drink at their old dive bar hangout. Things turn sour when Tim recalls how Jay got a role he had wanted, Their reunion ends in a fistfight on the sidewalk. The next day, Ron does damage control as Jay hits him with a bombshell. Rather than work on a new project with a hot directing duo, he’ll go to a Tuscany film festival that wants to honor him with a career award. But Jay doesn’t want another piece for his mantel. He makes a few clandestine calls, and finds out Daisy’s travel itinerary by following her BFF’s credit card trail. With Ron in tow, along with his long-time publicist Liz (Laura Dern), the “Kelly crew” flies to France where they board Daisy’s train. Along the way, Jay reconnects with the “common folk” while drifting in and out of memories before the big event in Italy, where he’ll encounter more folks from his troubled past.

So Clooney as a long-time, decades-spanning screen icon…not much of a stretch, sure. The guy has enough charm to spare, or at least for a couple more years. But here he peels back the sparkle to show the melancholy at Jay’s core. We see the sadness edging out that boyish twinkle in his eye as Clooney projects an unexpected vulnerability when Kelly realizes that time may not heal all wounds. His pairing with Sandler as the put-upon “wrangler” Ron is most inspired. Yes, Ron’s devoted to Jay, but Sandler shows us how the countless frustrations are boiling to the surface, ready to dour some hot steam into that suave mug. And he shows how his own family is losing the “tug-of-war” with Kelly. Dern’s great as another senior member of the “crew” who has his own regrets concerning her past with Ron. As Liz, Dern channels the staccato line delivery of those classic movie workin’ gals.The supporting cast is very impressive, including Patrick Wilson as another star in Ron’s “stable” (their Dinner “confab” is a highlight), Stacy Keach as the “rough around the edges” reminder of Jay’s boyhood, and Riley Keough as the elder Kelly daughter who is immune to papa’s “too late” attempts to reconnect. But the big standout may be the superb early-in-the-story turn by Crudup as the affable at first, old method acting buddy who suddenly bares his fangs on the startled “old pal”.

This is the latest work of one of the medium’s most interesting filmmakers, Noah Baumbach, who crafted the script with actress Emily Mortimer, who also plays Jay’s hairstylist Candy. This is a more grounded story than many of his more fanciful flicks like his WHITE NOISE, but not nearly as emotionally raw as MARRIAGE STORY. He gives us an interesting “insider’s view” of the industry, with riffs on several current stars and their scandals (now, who might those directing brothers be). Plus, Noah does dip his toe into fantasy with his unique flashback “transitions”. Suddenly, Jay will work through a day and be plunged into a major mistake from his past (he’s on his first movie set, he’s at a therapy session with one of his kids). We get some nice comic bits with the cute train passengers who adjust to the big star quickly. Oh, and that location works, especially in Tuscany, is quite dazzling. Though this can get a bit too fluffy and “navel-gazing”, the story does make its point concerning the consequences of putting your career first since in the non-soundstage world, we don’t get a second “take” to make things right. That’s a good lesson for moviegoers and movie stars like JAY KELLY.

3 out of 4

JAY KELLY is now steaming exclusively on Netflix

Win Passes To The St. Louis Advance Screening Of NOW YOU SEE ME: NOW YOU DON’T

The Four Horsemen (Jesse Eisenberg, Woody Harrelson, Dave Franco, Isla Fisher) are back — to unite with a new generation of illusionists (Justice Smith, Dominic Sessa, Ariana Greenblatt) for their most global, high-stakes magical adventure yet. Their mission: Expose the corruption of Veronika Vanderberg (Rosamund Pike), a powerful diamond heiress with ties to arms dealers, traffickers, and warlords. Aided by the legendary Thaddeus (Morgan Freeman), the two generations of magicians must overcome their differences to try and defeat their cunning and dangerous adversary, in this magic-fueled heist filled with the franchise’s signature twists, turns, and thrilling reveals — along with some of the most thrilling illusions ever captured on film.

NOW YOU SEE ME: NOW YOU DON’T is directed by Ruben Fleischer (Venom, Uncharted, Zombieland), from a screenplay by Michael Lesslie and Paul Wernick & Rhett Reese and Seth Grahame-Smith, story by Eric Warren Singer and Michael Lesslie, and based on characters created by Boaz Yakin & Edward Ricourt. Lionsgate presents, a Cohen Pictures production.

ONLY IN THEATERS NOVEMBER 14.

Official Site: https://nowyouseeme.movie/

DON’T MISS THE NEXT #NOWYOUSEEME MOVIE UPDATE. TEXT +1 (315) 669-8263

The St. Louis screening is at 7PM on Monday, November 10th at Chesterfield Galaxy 14 Cine.

ENTER HERE FOR PASSES: http://www.lionsgatescreenings.com/KSzuN12880

Please arrive early as seating is not guaranteed.

PG-13 for some strong language, violence and suggestive references.

Dominic Sessa as Bosco, Jesse Eisenberg as Daniel Atlas, Isla Fisher as Henley Reeves, and Justice Smith as Charlie in Now You See Me: Now You Don’t. Photo Credit: Katalin Vermes

Noah Baumbach Teams Up With George Clooney And Adam Sandler In First JAY KELLY Trailer – Coming To Netflix Fall 2025

Jay Kelly. (L-R) George Clooney as Jay Kelly and Adam Sandler as Ron Sukenick on the set of Jay Kelly. Cr. Peter Mountain/Netflix © 2025.

JAY KELLY, the new film from Academy Award nominee Noah Baumbach, follows famous movie actor Jay Kelly (George Clooney) and his devoted manager Ron (Adam Sandler) as they embark on a whirlwind and unexpectedly profound journey through Europe. Along the way, both men are forced to confront the choices they’ve made, the relationships with their loved ones, and the legacies they’ll leave behind.

The teaser trailer features “Jay Kelly Theme,” an original score by Nicholas Britell.

The cast includes George Clooney, Adam Sandler, Laura Dern, Billy Crudup, Riley Keough, Grace Edwards, Stacy Keach, Jim Broadbent, Patrick Wilson, Eve Hewson, Greta Gerwig, Alba Rohrwacher, Josh Hamilton, Lenny Henry, Emily Mortimer, Nicôle Lecky, Thaddea Graham, Isla Fisher, Louis Partridge, Charlie Rowe.

JAY KELLY opens in select theaters November 14 and on Netflix December 5.

Watch on Netflix: https://www.netflix.com/title/81551446

NOW YOU SEE ME: NOW YOU DON’T Trailer Debuts With Epic Times Square Takeover

Lionsgate surprised New Yorkers and fans nationwide this morning by giving away $250,000 in digital payments as part of a jaw-dropping Times Square stunt celebrating the trailer debut of Now You See Me: Now You Don’t.

Residents and tourists alike were met with a massive digital billboard flashing the words “NOW YOU SEE ME,” a live countdown clock, and a mysterious phone number, inviting them to text or call for a surprise.

As the countdown hit zero, the billboard flipped to reveal: “NOW YOU DON’T” and fans received a surprise text with the brand-new trailer – and instant cash prizes, courtesy of The Horsemen.

Franchise newcomers Ariana Greenblatt, Justice Smith, and Dominic Sessa joined the magic in person to help stage the visual “heist” in the heart of Times Square.

The stunt was designed to capture the spirit of magic and mischief that the franchise is known for.

The Four Horsemen return along with a new generation of illusionists performing mind-melding twists, turns, surprises, and magic unlike anything ever captured on film. Stars Jesse Eisenberg, Woody Harrelson, Dave Franco, Isla Fisher, Justice Smith, Dominic Sessa, Ariana Greenblatt, with Rosamund Pike, and Morgan Freeman.

NOW YOU SEE ME: NOW YOU DON’T is from director Ruben Fleischer and in theaters November 14, 2025.

DOG MAN – Review

So, new year (well, a month old now), new slate of cinematic superheroes invading the multiplex. This weekend sees the premiere feature film adaptation of a beloved crimefighter (Captain America will be throwing his shield when he flies in on Valentine’s Day) who’s rather unique in this realm. First off, he’s not a member of the Marvel Cinematic Universe (MCU). nor does he originate at Warner’s DC Studios. And, thankfully, it’s not another Sony “Spider-Verse” spin-off. No, this is from Scholastic, who have published fourteen graphic novels in this series, which sprung from another successful series. I’m certain they and his millions of fans are hoping that this is this will begin a new film franchise for the canine crusader known as DOG MAN.

The action takes place in a big bustling metropolis known as OK City, which seems to be constantly under attack by the supervillain Petey the Cat (voice of Pete Davidson). Luckily the Chief of Police (Lil Rel Howery) enlists the aid of his top cop Officer Knight (Pete Hastings) and his trusty sidekick Greg the dog to thwart the feline fiend. Unfortunately, they’re unable to defuse a bomb planted by Pete, and the duo is caught in its explosion. After being rushed to the hospital, the doctors make a fateful decision to combine their still functioning parts (Greg’s head on Knight’s body) to create Dog Man, champion of law enforcement. This heroic hybrid successfully stops the new schemes from Petey, sending him to prison which seems to have a revolving door. After yet another escape, Petey thinks he can keep ahead of his nemesis, by copying, really cloning, himself. But he’s stunned when the result is a kitten version he names Li’l Petey (Lucas Hopkins). When he’s rejected, Dog Man adopts the innocent fuzzy tyke. Pete continues with a new plan to revive a deceased fish called Flippy (Ricky Gervais), a true super-powered villain with the ability of telekinesis. Can OK City survive the terrible teaming of Petey and Flippy, even with Dog Man and Li’l Petey on the case?

This funny fantasy romp benefits from the expert comedic vocal casting. Davidson proves to be a superb comic villain, giving his lines a bombastic energy while still retaining a snarky spin on his threats and retorts. He’s not the only former SNL castmate enlisted as Cheri Oteri pipes in as the Mayor, Melissa Villasenor is a hard-selling realtor, and even Laraine Newman voices a brilliant scientist. Howery is a frantic hoot as the befuddled, overworked Chief who not-so-secretly pines for roving video reporter Sarah Hatoff, given a crisp energetic delivery by Isla Fisher. Hopkins is adorable as the cute bit never cloying kitty, while Luenell makes the Chief’s main assistant Milly a low-key sarcastic delight. And Gervais is gleefully snide making Flippy a twisted snicking super-menace.

In this his animated feature debut, Pete Hastings (yes, the voice of Knight and all the growls and howls of the title hero), directs his screenplay adaptation of the Dav Pilkey series, giving it a jovial, bouncy pace expanding from an origin story to introduce us to the many players and elements of Dog Man’s world. The animators have taken Pilkey’s line drawings into the CGI universe, making the characters resemble fuzzy, rubbery toys and retaining the child-like simplicity of the settings (we can imagine a kid constructing buildings of folded cardboard with funky hand-lettered signage). I was a tad surprised that much of the story’s first act echoed themes of the original ROBOCOP as Dog Man finds he can’t return to his old life (GF has split and put his home up for sale). Then the jokes swiftly connect until the tempo loses a bit of momentum by the one-hour mark, but Flippy’s fantastic feats involving some nifty walking skyscrapers invigorate the finale. Sure, there are a couple of crude gags mocking canine habits and a scathing “burn’ from Li’l Petey that may get repeated on the schoolyard, but this is really an all-ages romp that the whole family can enjoy (again, thanks to a talented cast), making a howling, tail-waggin’ triumph for the first screen adventure of DOG MAN.

3 Out of 4

DOG MAN opens in theatres everywhere on Friday, January 31, 2025

STRAYS (2023) – Review

This Summer the multiplex has been filled with superheroes, supercars, giant robots, dolls, atom bombs, and secret agents. So, where’s “man’s best friend”? How about a sweet family-friendly flick about those angelic “fur babies”? This weekend that request is addressed…sorta’. Yes, it’s full of cute, cuddly (mostly) live-action canines, but it is far from family-friendly as you can tell by the poster with one of the pups tearing into an “R” rating insert. Yes, there are a few sweet moments, but these mutts are behaving like, well, real mutts, engaging in all manner of crude activities (hence that rating). and this cursing pack of pooches would growl at being called “fur babies” as they prefer flaunting their “street cred” as STRAYS.

The first of them we meet, actually the story’s narrator, is a fuzzy naive border terrier named Reggie (voice of Will Ferrell). Oh, but his human owner calls him by a variety of nasty nicknames. That’s the slacker stoner Doug (Will Forte). who had acquired Reg for a long-departed girlfriend (smart lady). And now Doug wants to be rid of him, although Reggie thinks it’s a new fun version of “fetch”. Doug drives him to a desolate field or forest and tosses Reggie’s beloved ratty tennis ball. And the dog brings it back to their dingy shack every time. Then Doug decides to really “go for it”. The two drive two hours away from rural Oakwood to a scary big city. Poor Reggie is now truly lost. Just as it looks like he’ll be a “chew toy” for some bigger brutal dogs, he’s befriended by the self-proclaimed “street king”, a Boston terrier named Bug (VO: Jamie Foxx). While showing Reg the “ropes” he introduces him to a couple of pals. Maggie (VO: Isla Fisher) is a lovely Australian Shephard with a keen sense of smell, whose master ignores her in favor of a cute new puppy. And there’s the timid, lumbering Hunter (VO: Randall Park) a service Great Dane who won’t take off his “healing cone”.The quartet bonds and hatches a plan. Going by Reggie’s memory of “landmarks” (“a giant mouse-wheel, a huge cone, and the devil in the sky”). they’ll travel back to Doug for some very painful “payback”. But can they survive the long journey or will they end up in that fabled “farm up north”?

Careful, this is NSFW!!

Well since the title named ‘strays” are the main focus of the film, we should discuss the vocal performances of several movie comedy vets. Ferrell makes Reggie a furry canine cousin to Buddy the ELF with his sunny outlook and bouncy energetic innocence. But Ferrell is also able to convey his frightened panic and Reggie’s near-boundless joy. Foxx gives Bug a very different energy, one of (sorry) alpha-dog swagger and aggressive determination. His wall of macho is finally chipped away by Reggie when he reveals his own past heartbreak with a human. Fisher exudes pluck and spunk as the lone lady who’s usually several steps ahead of the boys when the stakes are high. The biggest laughs (his “howling” got me every time) might be those garnered by the endearing Park who makes the looming giant Hunter into a sympathetic and emotionally vulnerable hero, though full of self-esteem issues (he can’t tap into his “BDM” energy). Along the trail, the quartet encounters a surly intimidating German Shephard police dog voiced by the gregarious Rob Riggle. As for the “people”, Forte somehow upstages those adorable pups as the cruel but somehow entertaining lowlife Doug, making him more than a nasty one-note villain. There’s also a scene showcasing the terrific comic actor Bret Gelman, but his skills are squandered in a sequence that makes little sense and seems to be a way to indulge in some scatological gags (honestly).

So despite the marketing campaign that makes the R-rated content clear, even taking a cue from the “red backdrop” poster from 2019’s GOOD BOYS, some folks still think this is a fun-filled all-ages furry romp. Which it certainly is not. So, does it deliver what it promises? Yes, there are indeed more laughs than in the funny “red band” trailers from the last couple of months. And somehow the script from Dan Perrault does include some heart-tugging moments as the strays try to deal with their need to be free and the yearning for a “people parent”.Director Josh Greenbaum, in his follow-feature to the underrated gem BARB AND STAR GO TO VISTA DEL MAR, keeps the pace fairly taut at a brisk 93-minutes though the dreaded lull rears its head before the final showdown. Oh, the effects are splendid harkening back to the “Dogville” comedy shorts 90 years ago. They used classic 2D animation to make the mutts’ mouths move, while slick CGI keeps the pups chattering away, and enables them to perform all manner of dangerous slapstick (the highlight may be a sight gag about the “invisible fence”). Sure it’s crude with the doggies indulging their “animal impulses”, but if you’re in the mood for some “low-bred” laughs then you may want to join this pack of STRAYS. So “sit”, “stay” and put away that phone (“bad viewer!”).

2.5 Out of 4

STRAYS is now playing in theatres everywhere

GODMOTHERED – Review

So, who could use a little magic? This year, who couldn’t, even with just a few weeks left in 2020? We’re not talking about luck or “good fortune”, but rather the sprinkly, sparkly spells that come straight from witches, pixies, and wizards. Sure, that’s the stuff of faerie tales, but wouldn’t it be great if that mythology had some real-life basis? Sweet, huh? Now other than big blue “motor-mouthed” genies, who’s the big “wish-granter”? Just ask the dazzling blonde rockin’ those glass slippers. She’ll tell you from first-hand knowledge that it’s pretty great to be GODMOTHERED. But would that “fly” today, even using lotsa’ pixie dust?

That question is answered in the new film by taking a trip to another dimension. Where do faerie godmothers come from? Why Motherland, of course. But things are pretty dismal there, as 21^st century Earth folk just don’t believe like they used to. The “GMs’ in the magic classes are pretty downbeat, except for the youngest one “in training”, the bubbly smiling Eleanor (Jillian Bell). But she’s even dismayed by the unexpected appearance in class by the “queen mum” and ruler of the land Moira (Jane Curtin). Unless some human is helped, the whole place will shut down and cease to exist. Things seem hopeless, but Eleanor won’t give up. Scouring the “request files” she finds one lonely letter, from little Mackenzie Walsh in Boston, USA. Without Moira’s knowing (she wouldn’t approve), Eleanor, with the aid of her roomie Agnes (June Squibb), dashes through a mystical portal to our world. Thing is, she’s still getting the hang of her wand, so she hitchhikes to “Bean-town” only to discover that her last chance isn’t a child (that letter had been there a while). Mackenzie (Isla Fisher) is the single mother of two young women, Jane (Jillian Shea Spaeder) and Mia (Willa Skye) who’s working as a news segment producer for a struggling TV station. Of course, she thinks Eleanor, in her frilly pink ball gown, is a tad “touched” in the head. Can Eleanor possibly get her “spell-casting act” together and get the Walsh family to believe in magic before that portal closes and Motherland is no more?

After stealing scenes in several studio ensemble comedies (22 JUMP STREET, ROUGH NIGHT, THE NIGHT BEFORE) and headlining an indie (BRITTANY RUNS A MARATHON), Bell looks to expand into family flicks as the simple sunny Eleanor. She succeeds for the most part, due to her fearless comic commitment (getting pelted with pumpkin mush while in that pink hoop dress) and slapstick skills (trying to control a wand that seems to have a mind of its own). It’s a smooth stroll from the hard-partying gal-pal to the sweet, clueless, and clumsy conjuror. Luckily the character has a superb straight-man, er…woman, and “reality buffer” in Fisher as the sour, cynical Mackenzie whose tough “outer layer” is slowly melted away by Eleanor’s optimism. She’s got great support at home with the two talented young actresses playing her daughters. Skye’s Mia hasn’t quite shaken her sense of joy and wonder, while Spaeder as big sis Jane is still haunted by the family’s past tragedy which almost stifles her creative musical talents (she’s been given the big solo at the holiday pageant). As for “Mack’s” work “fam”, Santiago Cabrera is an affable encouraging “chum’, who may become something more, as her “roving reporter” Hugh Prince (hmmm…that last name). Much of that applies to Mack’s BFF Duff played with a subtle sense of snark by Artemis Pebdani. Of course, not everybody can be nice and helpful (although both certainly apply to the always fun Squibb as Agnes). Bell’s BRITTANY love interest Utkarsh Ambudkar provides a smidge of comic villainy as Mack’s rating and publicity (“Gotta’ go viral!”) desperate boss Grant. And though she’s tart and intimidating, Curtin as Moira proves to be the “tough love” matriarch that Eleanor needs, though she has a real scary regal vibe about her.

A veteran of two BRIDGET JONES films, director Sharon Maguire does a fairly good job of keeping the story from collapsing under excess whimsy while eliciting great comic work from the cast (would love to see Bell and Fisher teamed again for a more adult romp). Unfortunately, her efforts are often undone by a script that begs too many comparisons to the superior fantasy /modern-day comedy mash-ups ELF and ENCHANTED. Some of the plot machinations are predictable (somehow the station’s ratings skyrocket due to Eleanor’s mishaps) and inconsistent (that wand seems to work correctly when needed for the story). And the attempts at pathos are somewhat heavy-handed, especially in the big musical finale. The various locales around Boston are lovely, as is the “faerie-world” of Motherland (still too many historical problems with that word, though). Big kudos however for the charming “2-D” animated prologue which would be a great medium for a modest follow-up (a bit of a long-shot). Though it’s doubtful that this film could become a perennial fave like the aforementioned flicks, the smallest tykes may be entertained for a bit as their folks indulge in some “cyber-shopping” rather than getting GODMOTHERED.

2 Out of 4

GODMOTHERED streams exclusively on Disney+ beginning December 4^th, 2020.

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

TAG (2018) – Review

Enough with the frivolity down at the multiplex, we’ve got another film opening this week that was “inspired by true events”. Seriously (usually very very), they’re stories of triumph against the elements (as with the recent ADRIFT) or bravery in the face of injury or disease (BREATHE, STRONGER, and countless others). Just a minute, you’ve seen the TV ads and trailers for the last few months so you know it’s a comedy. Now that’s a real rarity, little seen hybrid mix, like the “jackalope”. Needles to say it’s been somewhat exaggerated or enhanced for the big screen. The reports of a pack (around a dozen) of buddies now in middle age (being generous here) who have set aside one month every year to continue a game of tag started while they were in grade school (so we could say it’s based on a classic game like CLUE or BATTLESHIP, but there’s no boards or dice involved, just hands and legs) has seen exposure in print and on the TV news (CBS Sunday Morning just rebroadcast their profile). For the flick they’ve cut back the squad to five and they guys are trim and in their early forties (and of course, a couple of them are extremely photogenic). Oh, and the game is much more violent (slapstick, you could say), because audiences would expect that for an “R” rated game of TAG.

In the movie’s opening moments we see the elaborate planning of “tag” player “Hoagie” Malloy (Ed Helms) to deliver the “touch” to business tycoon Bob Callahan (Jon Hamm). Bob becomes “it” just as he’s beginning an interview with a reporter from the Wall Street Journal, Rebecca (Annabelle Wallis). She’s intruiged by the ensuing chaos, so the guys explain. Every year, during the month of May, they continue a game of tag begun in their youth. Of course you can’t tag back the guy that just made you “it”. And the fella’ that’s it at the end of those 31 days is the loser (nope, no real winner). This time Hoagie has a master plan to finally make one of their pals “it”. Jerry (Jeremy Renner) has successfully stayed hidden in May (and he’s super fast, too). Seems that Jerry’s getting hitched on the last day of the month in Portland. As Jake Blues would say, “It’s time to get the band back together”. This all seems much more interesting to Rebecca than an interview, so she tags along. But she’s not the only lady, since Hoagie’s wife Anna (Isla Fisher), though not a player, is psyched to help track down their “white whale”. Soon their two other buddies, laid-back herbal enthusiast Randy AKA Chilli (Jake Johnson) and quirky, soft-spoken Sable (Hannibal Buress) join the journey. Their first run at Jerry is disrupted by his nervous fiancee Susan (Leslie Bibb), She’s scared that they will ruin her big weekend. During a truce they set up new ground rules: no tag at the wedding rehearsal, the following dinner/reception, or at the actual ceremony. They all agree, though Hoagie and his crew continue their efforts to get Jerry alone and end his streak and finally make his “it”.

The cast is an interesting mix of comedy TV vets, stand-up comedians, and even an action flick staple. The leader of the mayhem is probably Helms’s Hoagie, who’s doing a less awkward take on his HANGOVER patsy while bringing lots of energy and a demented zeal to his quest. Hoagie’s likable, but completely hyper-focused on his “Jerry hunt”. Almost matching him in his mania is Fisher as wife Anna, whose fiery spirit matches her hair color. Though unable to tag, she’s a valuable addition the the guys’ mission. And Fisher is a most delightful “firecracker”. Plus she gets to team up with a co-star from the 2016 underrated farce KEEPING UP WITH THE JONESES, Jon Hamm, who once again plays against his leading man looks to display his formidable comic skills and getting more physical via the great slapstick sequences. Buress can still steal scenes with his off-kilter line delivery, seeming to “toss off” killer quips. Johnson’s also great with a snarky joke, given with a laid-back wiseguy charm. Unfortunately the constant “weed” bits wear out and become an easy laugh or a scene ender with CGI smoke wafting from his lips. The best surprise may be the work of Renner, doing an inspired parody of his action movie roles from THE BOURNE LEGACY and Hawkeye in the Marvel movies. Jerry has a soft side, but Renner plays him as a closed book for much of the action, preferring to be the smug “man in control”. This makes for an odd pairing with Bibb as his future bride. Susan often comes off as a shrill “fun-killer” and her manic “bride-zilla” can be a bit “over the top”, but Bibb truly commits in her performance. That role is more compelling than Rebecca, who’s mostly the wide-eyed observer and “voice of reason”, but kudos to the striking Wallis for bouncing back from last year’s twins of trash, THE MUMMY and KING ARTHUR: LEGEND OF THE SWORD. Also representing the ladies is Rashida Jones, the talented star of TV’s “Angie Tribeca” and “Parks and Recreations”, who is underused as the former high school sweetheart of two of the guys (invited by Jerry to split the team). Her character is the source of a particularly crude joke about their teen years. Jones deserves better. But there are some nice turns by stand-ups Sebastian Maniscalo and LilRel Howery (so hilarious in GET OUT), along with comic actors Steve Berg (he really wants in the game), SNL vet Nora Dunn, and Thomas Middleditch (love that fabulous ponytail) from HBO’s “Silicon Valey”.

First time feature director Jeff Tomsic does his best work in the movie’s “game” scenes, using the “slow-mo, speed-up, then quick back to slow” effect in some many action flicks, enhanced with some CGI for the facial impacts. This also gives us time to hear the characters’ thoughts as they try to avoid being “it”. But it’s more Three Stooges-style violence were they might only need an aspirin rather than a trip to the ER. Unfortunately Tomsic couldn’t smooth out some of the kinks of the hit-and-miss script this is indeed based on a Wall Street Journal article (written by a dude, though). In one third act plot point a phrase describing a “pregnancy mishap” is repeated so much, that it becomes distasteful, annoying, and insensitive (every mention was fingernails on a chalkboard). But the biggest problem may be the lack of chemistry between the actors. They don’t seem like guys that would still want to hang out for a full month year after year. The hospital-set finale with one player in dire straights feels like a forced attempt at pathos and comes off as clunky. Luckily the flick cuts to a wonderful montage that succeeds in giving viewers the ole “warm fuzzies”. But this and the action sequences aren’t quite enough elevate TAG above its schoolyard roots. Dodgeball, it ain’t.

3 Out of 5

Win Passes To The Advance Screening Of TAG In St. Louis

TAG opens in theaters on June 15 and WAMG has your passes to the advance screening in St. Louis.

For one month every year, five highly competitive friends hit the ground running in a no-holds-barred game of tag they’ve been playing since the first grade—risking their necks, their jobs and their relationships to take each other down with the battle cry: “You’re It!”

This year, the game coincides with the wedding of their only undefeated player, which should finally make him an easy target. But he knows they’re coming…and he’s ready.

Based on a true story, the New Line Cinema comedy “Tag” shows how far some guys will go to be the last man standing.

“Tag” is directed by Jeff Tomsic (Comedy Central’s “Broad City”), with a starring ensemble cast led by Ed Helms (The “Hangover” movies, “We’re the Millers”), Jake Johnson (TV’s “New Girl”), Annabelle Wallis (“The Mummy”), Rashida Jones (TV’s “Parks and Recreation”), Isla Fisher (“Now You See Me”), Leslie Bibb (“Iron Man 2”), Hannibal Buress (“Neighbors”), with Jon Hamm (“Baby Driver,” TV’s “Mad Men”) and Oscar nominee Jeremy Renner (“The Hurt Locker,” “The Town”).

The “Tag” screenplay was written by Rob McKittrick (“Waiting”) and Mark Steilen (TV’s “Mozart in the Jungle”), screen story by Mark Steilen, and based on the Wall Street Journal article entitled “It Takes Planning, Caution to Avoid Being It,” by Russell Adams. The film is produced by Todd Garner and Mark Steilen, with Hans Ritter, Richard Brener, Walter Hamada and Dave Neustadter serving as executive producers.

The creative filmmaking team includes director of photography Larry Blanford, production designer David Sandefur, editor Josh Crockett, and costume designer Denise Wingate.

Enter for the chance to win TWO (2) seats to the advance screening on Tuesday, June 12 at 7pm in the St. Louis area.

Answer the Following:

What if you never had to give up the games that you played as a kid? The kind that kept you and your friends outside, way past sunset. What if, as a grown up, you could keep the games going with your friends, forever?

TELL US YOUR FAVORITE GAME!

ENTER YOUR NAME, ANSWER AND EMAIL IN OUR COMMENTS SECTION BELOW.

OFFICIAL RULES:

1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.

2. No purchase necessary. A pass does not guarantee a seat at a screening. Seating is on a first-come, first served basis. The theater is overbooked to assure a full house.

This film is rated R for language throughout, crude sexual content, drug use and brief nudity.

Visit the official site: www.tagthemovie.com

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