Tag: June Diane Raphael

SCRAMBLED – Review

Somehow, in the midst of the “first quarter” of the year’s cinematic doldrums and discards a nice surprise “pops’ up to jolt you awake, or at the least engage your senses. And it’s even rarer that it’s from a relative newcomer or an artist that’s not yet “on the radar”. That changes now. Like many creatives, she’s far from an “overnight star”, as her IMDB lists more than a dozen or so acting credits. And then there are several listings of “behind the camera” work, in features and shorts on the big screen and small. Now, with this release she’s a true “triple threat” as she makes her feature directing debut while emoting in nearly every scene. Film fans, here to inject much-needed energy and a bit of snark into the “rom-com” is Leah McKendrick in SCRAMBLED.

So, what’s up with that title, eh? Well, it takes a few minutes to bring its meaning into focus. The opening sequence is a big wedding day, though not for the tale’s heroine, thirty-something “free spirit” Nellie Robinson (McKendrick). Once again she’s a bridesmaid (shades of 27 DRESSES), trying to “get her drink on” and dancing in a clunky, brownish gown. But first, she’s got to “talk down” her BFF, the bride herself Dhelia (Ego Nwodim) who seems to have a case of “mid-ceremony jitters” (the “I do” is done, but she’s in a panic). Finally, the reception begins and between dances, Nellie talks to her “role model” Monroe (June Diane Raphael), who delivers a literal “wake-up call” to her. It turns out that having a child at age 40 was hellishly painful and expensive. After hearing of Nellie’s exact age (34), Monroe tells her that if she has no “partners” or “prospects”, she’d better freeze her eggs if she ever wants to be a mom. This sets the “drifting” Nellie on a mission. As her “main hustle” is most people’s “side hustle” (selling hand-crafted jewelry online), she’s got to get the funds needed for the procedure. Naturally, she turns to her family, who are somewhat baffled, especially blustery Papa Richard (Clancy Brown) and “go-go” tech exec bro Jesse (Andrew Santino), who caves in after loads of begging and pleading. Thus begins an agonizing regime of self-administered shots and medication. But in her downtime, Nellie decides to track down some former flings and a few serious beaus on social media, Could she rekindle an “old flame” and start a family the old fashioned way?

Proving that her other film “duties” don’t have to diminish her performance, Ms. McKendrick makes Nellie one of the most complex and compelling modern women at the heart of this engaging character “arc”. At first, Nellie seems to be a female “spin” on the popular comedy flick trope, the “man-child”, usually played by a stand-up comic or a TV sketch show featured player. She’s always ready to party, complete with a “constantly stocked purse”, though she shows her annoyance at being “support” at the big nuptials. Then a switch is turned by a literal “smack in the face” and McKendrick conveys the worry via her furrowed brow that the clock is ticking…and getting louder. And a “quickie” with a server isn’t silencing it. Sure, there are still moments of immaturity, actually throwing a “hissy fit” in her brother’s office. and we’re confused by her choices as she makes an online “thirst trap”. This serves to make her more human as Nellie “flings’ herself ‘head-first” into adulthood. This all comes through due to McKendrick’s verbal and superb physical skills (timing and great pratfalls).

McKendrick surrounds herself with a terrific cast, balanced with the comedic and dramatic. Though she’s only in one scene Raphael truly delivers with an unexpectedly brutal “bombshell” destroying the “having it all’ fantasy. Nwodim, a SNLer who is more than “ready for prime time”, brings endearing manic energy as the new bride who is just “getting it” and needs her “buddy backup”. As her annoying big brother, Santino is sweetly obnoxious as the corporate “climber” who loves his lil’ sis’, but is confused by her. There’s also a string of gifted actors playing Nellie’s various former fellas’, with corresponding floating cartoon labels (“The Prom King’, “The Cult Leader”), including Adam Rodriguez as the smoothest of players and Brett Dier as the spooky, passive-aggressive “Mr. Nice Guy”. But the movie’s MVP may just be Brown as the perplexed papa. After his great recent turn in PROMISING YOUNG WOMAN, I’m wondering if he should be the “go-to” daddy in these female-driven stories. He’s more grumbly here than in PYW, but he’s still a nurturing “rock’ for the confused Nellie, even as he bemoans the onset of age.

As I mentioned earlier, Ms. McKendrick matches her performance as Nellie with a witty and often heartfelt script and confident direction. The film is swiftly paced even as it switches tones from whimsey (again, those cartoon labels and humiliating “one-nighters”) and the darkness of modern LA (nights of agony as she pokes more holes into her belly). Nellie is on a journey, and we’re right there for her as she strays into many poor choices. In addition to the procedure pain, Nellie is plagued with regret over the “perfect guy” she let slip away. But McKendrick even mines great comedy from this pain (even laughter at a miscarriage support group). Movie fans will be looking forward to her next project when they take a chance on the superb indie “dramedy” SCRAMBLED. And somehow I made it through without a “putting all your eggs in one basket” joke!

3.5 Out of 4

SCRAMBLED is now playing in select theatres

THE HIGH NOTE – Review

So this weekend brings another new film that’s set in the world of “things we could do three months ago”. Last week it was world travel with Steve and Rob in THE TRIP TO GREECE along with Kristin and Sharon singing in a choral group in MILITARY WIVES. This week the “now verboten” activity in concert-going. Well, that’s really just a part of the flick’s story, but it’s a big part. There are several scenes with one of the characters filling big stadiums and amphitheaters, usually for “one-night-only” shows, and often not knowing the locale (“Good evening…um..where are we?”). Now the story’s main focus is not the chart-bustin’, seat-fillin’ superstar, but their lowly assistant, the “errand-runner” actually. We saw a bit of that in the recent A STAR IS BORN remake, to a lesser degree in the indie drama THE ASSISTANT, and as fodder for TV comedies like “Entourage” and “30 Rock”. And there was LATE NIGHT from last year, which, oddly enough, was from the same director as this flick. So, in this current effort, does she hit THE HIGH NOTE?

Much like the central character, this movie hits the ground running as we observe “star aide” Maggie (Dakota Johnson) embarking on several “morning missions” for her boss, pop diva Grace Davis (Tracee Ellis Ross). “Pick up this” “Grab that” until her now packed to the roof “seen better days” car arrives at the Davis mansion somewhere in Hollywood. In addition to the “pop diva”, Maggie must also deal with long-time, usually surly (oh, can he give the “stink-eye”) talent manager Jack (Ice Cube) and the “dim bulb” housekeeping supervisor Gail (June Diane Raphael), who seems to think that she’s a font of wisdom. Grace is at somewhat of a career “crossroad”. Should she keep playing big arenas around the globe, doing “one-nighters” and belting out the old familiar hits, or should she go with Jack’s idea to hook up with a Vegas casino to be an “artist in residence” and croon the same tunes in the same showroom for several months (maybe a year or two). But Maggie hopes to offer another alternate. In her precious “downtime” she’s been using new software and apps to give her standards a bold “new” sound without “drowning out” her still sharp vocals. Soon she’s got another “side gig” when she “meets cute” the owner of a produce chain, David Cliff (Kelvin Harrison Jr.) who is also quite the pop balladeer. Maybe Maggie can produce some songs with him, if she can keep things “professional” (a big challenge with the charming Cliff). But will this interfere with her work with Grace? Could she make “beautiful music” with both of them?

In a big break from the FIFTY SHADES trilogy, Johnson brings a low-key charm to her “everywoman” role as the often unappreciated Maggie. Her aide role is close to the classic “plate-spinner” act as she tries to keep track of Grace’s itinerary while trying to predict her abrupt mood changes while brushing aside those who would curry favor or exploit her. Johnson gives us the “vibe” that Maggie is forming a “hard shell”, putting on armor, while fretting over losing her own sense of empathy for others. Unfortunately her character is not as compelling or complex as Grace, played with a dramatic flourish by the commanding Ellis-Ross. Sure the comparisons to her famous mother Diana are evident, but Ellis-Ross resists the notion of turning her into a petulant, campy primadonna. The film only comes alive when she switches personas on a dime, from demanding dictator (at a party Maggie spits out a drink when caught in Grace’s icy stare), to gossipy gal pal, to the uncertain artiste, showing her vulnerability as she regrets past choices and faces an uncertain future, being a minority singer of a “certain age”. She’s paired with a great sparring partner, as Cube struts and growls as he presents his talent, but makes sure to get in every photo or video. At times they behave like an endearing but often bickering old married couple. Though he grumbles we know that Jack would do anything for his Grace. Like Johnson, Harrison tackles another real “change of pace” role, coming off his superb dramatic 2019 “one-two-punch” of LUCE and WAVES. His Davis is pure silky-smooth laid-back charm as he flits into Maggie’s orbit. And when he gets to the mike stand, she (and many others) will almost swoon at his charisma wrapped in some powerful “pipes”. As for the rest of the comic support team, Raphael is underutilized as the daft Gail, while Zoe Chao is a very funny encouraging roomie to Maggie. On the male side, veteran Bill Pullman strides in for the final act, while real-life tech music guru Diplo appears to be having a great time skewering his hipster image.

The aforementioned director, Nisha Ganatra, ably conveys the twirling hectic life of a professional “go-fer” in the opening scenes giving us a sparkling “city of dreams” in the often familiar California backdrops (plus Catalina Island looks idyllic in the final moments). And when we’re following in the bedazzling footsteps of Grace, the glow of superstardom is mesmerizing. Unfortunately, the script, from newcomer Flora Greeson, cuts away to the rather limp romantic subplot, along with lots of “sound mix” collages. The Maggie and David courtship fizzles (some chemistry clashes), as we wait…and wait… to get back to Grace and (gone for most of the middle hour) Jack. In the last half, much of the comedy lands with a clunk (and there are some very funny people on screen). And then, in the last few minutes, a twist/curve is sprung on the audience that’s both ludicrous (not in a comic sense) and frustrating, with characters making “off-kilter’ decisions just in order to provide some dramatic conflict. And despite tossing off bits of pop music trivia, and kissing pics of superstars that adorn the hallways of Capitol Records, Maggie never seems plausible as a musical mastermind. Ellis-Ross, on the other hand, feels like the “real deal” although we’re cheated on any full vocals until the near fade-out. Oh, her wardrobe from Jenny Eagan is worthy of a pop queen. Ultimately though, THE HIGH NOTE is one off-key backstage tune. And here comes the hook…

2 Out of 4

THE HIGH NOTE opens in select theatres and drive-ins. It is also available as a Video On Demand on most cable and satellite systems and is streaming on demand via most apps and platforms

LONG SHOT – Review

So, you’re looking for a different kind of film this weekend, maybe a light snack about the glorious super-powered feast that most of the world devoured (and is still savoring) just a few days ago. Perhaps a “rom-com” may be just the thing, maybe featuring an Oscar winner? So, who’s her co-star? How about a “hook-up” with today’s unofficial “stoner” comedy star? Why am I asking so many questions (okay, just one more)? But just where would this unlikely duo connect? The world of global politics, of course! Still, most folks would consider the chance of these two “getting busy” a very LONG SHOT But hey, anything can happen at the movies.

We first meet one half of the romantic duo, Fred Flarsky (Seth Rogen) as he finishes up some truly dangerous undercover research on an expose he’s writing for a scrappy, almost underground weekly newspaper. Ah, but his journalistic triumph is cut short when he’s informed that his paper has been bought out by right-wing media mogul Parker Wembley. Well, Fred has his integrity so he resigns despite his boss’s pleas to fire him (so he can collect unemployment). Upon hearing of this, Fred’s BFF Lance (O’Shea Jackson Jr.) insists that he treat him to a day of indulgence. Said day caps off with a performance by their fave R & B group at a fancy charity cocktail party. At that same party is the other half of said duo, Secretary of State Charlotte Field (Charlize Theron), who’s had quite a day herself. Her boss, President Chambers (Bob Odenkirk) informed her that he will not be seeking a second term. With the prodding of her aides Maggie (June Diane Raphael) and Tom (Ravi Patel), she decides to make a run at the Oval Office. Back on that fateful evening Charlotte and Fred lock eyes across the big party. She can’t place him, but he recalls her as his ideal back when she was his babysitter. She was his big unrequited “crush”. After her secret service agents bring him over, the two enjoy a reunion that’s cut short by the overbearing Wembley himself (Andy Serkis). This leads to a “viral video” moment and the two part. But Fred’s in the back of her mind, especially when Maggie and Tom tell her that the public doesn’t think she’s got much of a sense of humor. Charlotte’s read and enjoyed Fred’s articles and he’s outta’ work, so why not hire him to “punch up” her speeches? But she has to convince Fred that she will stick to her principals and not back down. She succeeds and Fred is joining them on the pre-campaign trail. Soon that long-ago attraction is rekindled. They try to keep it on the “down low”, but for how long? And can the voters possibly accept her with him?

This new work marks another success in the film career of unique star and, we can now certainly say, movie leading man Rogen. He could have made a safe comfortable living just starring in silly “weed” flicks like PINEAPPLE EXPRESS, but he’s strived to take on projects outside that “comfort zone”. Hey, he was even a superhero (though THE GREEN HORNET didn’t kick off a new franchise), has provided some cartoon voices (the family-friendly KUNG FU PANDA and MONSTERS VS. ALIENS and the not-for-kids SAUSAGE PARTY), and showed us his dramatic chops in STEVE JOBS and TAKE THIS WALTZ. Here’s he’s closer to his characters in KNOCKED UP and the NEIGHBORS flicks with some of the smarts from THE INTERVIEW. Rogen makes Flarsky more than the “doofus snags a hottie” in that he’s a determined investigator, with a strict sense of purpose and ethics that often work against his likability. Despite enjoying a “good time” Fred can be strident and close-minded, and Rogen shows us a guy that has trouble adjusting to the compromises of the “real world”. Luckily his character is guided by Theron’s strong, assured performance as Field who knows that you’ve got to “bend’ a bit, but wonders if she “gives in” too often. With Flarsky, she recalls those younger idealistic days with both joy-filled nostalgia and a touch of regret. Theron’s stunning looks draws us toward her particularly in those diplomatic dinner parties, but, as with Rogen, that can work against her, as many assume she’s doesn’t possess a sharp mind and a razor-sharp wit. And in the final act, Theron shows us how Field has been liberated by her friendship and eventual romance with Fred, generating real “heat’ even as they debate and disagree.

If the chemistry between the two leads weren’t enough, they’re surrounded by a horde of talented comic actors. Jackson is compiling quite a resume, this time giving us a street-savvy media tycoon who still like to “kick it” with his pals, and is the perfect “wing” man. Raphael is a treat as the non-nonsense b#*l-busting aide/campaign manager who tries to become a “living wall” between Fred and Charlotte while hiding her own secrets. Patel scores some chuckles as the put-upon number two in the Field team who could be pals with Fred. Randall Park has a terrific comic cameo as Fred’s understanding editor. The biggest surprise here may be Alexander Skarsgard as the handsome hunky Canadian Prime Minister (how’d they come up with that character). Though they photograph together like a dream (Joe and Jane Q. Public just eat them up like “eye” candy), the pairing of him with Field just doesn’t “click”. Beyond a casual flirt, Skarsgard is endearingly awkward as he fails at “sealing the deal”. The film’s real laugh-generator is Odenkirk whose TV actor turned politico trying to turn movie star is inspired casting. Plus he plays both “boob” (watching ad really enjoying clips of himself as the prez’ on his old TV show) and ruthless deal maker and career breaker when Field doesn’t “play nice” for his backers. The biggest of which is media magnate Wembley played with nasty troll-like glee by a nearly unrecognizable Serkis. Really, I had no idea who it was till the end credits rolled. Whether he’s using “motion capture” or, in this role, old-fashioned make-up and wigs, Serkis is one of our most gifted character actors.

Veteran comedy director Jonathan Levine (he worked with Rogen on THE NIGHT BEFORE and 50/50) keeps the pace bouncing along, avoiding the deadly “lull at the one hour mark” that crashes many comic films. He expertly uses quick edits along with slow motion to punch up the slapstick set-ups, while slowing things down for the intimate sequences that show love blossoming from the respect between the two leads. Of course, none of this would play without the whip-smart script from another comedy vet Dan Sterling (Lotsa’ TV and THE INTERVIEW) and relative newcomer Liz Hannah whose biggest credit is THE POST (this may account for some of the “insider” digs at the media and the “beltway”). They provide some great gags about the devotion to polls and surveys (Field is annoyed that her laugh and her waving”, as in saying “bye bye”, don’t “track” well). And big kudos to them for establishing early on that Charlotte is a few years older than Fred (the painfully funny flashback is a highlight). This sort of thing wouldn’t be permitted just a few years back when leading men had several decades on their romantic co-stars (still happens too much today), so bravo. They’ve combined some of the hilarity of Rogen’s “party” pics with the unlikely pairing love story of KNOCKED UP and the swooning political romance of THE AMERICAN PRESIDENT. If you’re looking for silly slapstick and smart satire then this new flick is truly no LONG SHOT.

4.5 Out of 5