Tag: rose byrne

TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM – Review

All right, perhaps this unifying theme for the 2023 Summer movie season is nostalgia. Sure, the multiplex is usually filled with sequels and reboots this time of year, but at this moment the studios appear to be trying to exploit the treasured properties of our youth, over several different generations. Last weekend it was a beloved ride/attraction which has been a staple at the happiest place(s) on Earth for over fifty years. However the box office (and WB record-breaker) for the last couple of weeks stretches back another ten years to engulf theatre lobbies in a title wave of pink (“This BARBIE’s gonna’ bust a billion bucks at the box office”). Now, this Wednesday’s (gettin’ a jump on the weekend) new release also has a toy connection, but that merch arrived well after the characters’ comic book debut in 1984 (which spawned a TV cartoon a couple of years later). Oh, and it’s their seventh theatrical feature film (quite a few straight-to-home video and streaming flicks), and like the 2007 entry, it’s fully animated (no “mo-cap CGI” or big rubber suits). Time to return to those NYC sewers with TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM. Cowabunga!

For this retelling, the film is indeed back in the Big Apple for a flashback in the secret lab of scientist Baxter Stockman (voice of Giancarlo Esposito) who is testing his weird glowing ooze on several animals. Well, until his grungy “crib” is invaded by the forces of TCRI, under orders from Cynthia Utrom (Maya Rudolph). Ah, surprisingly some of the enhanced creatures fight back. Flash forward to now as the TMNT quartet, Donatello (Micah Abbey), Raphael (Brady Noon), Michaelangelo (Shamon Brown Jr.), and the leader, Leonardo (Nicolas Cantu) go on a nighttime grocery run for their “papa”/mentor Splinter (Jackie Chan). Of course, things go awry when Leonardo is outvoted and the guys try to join the crowd at an outdoor movie screening in the park. Naturally, Splinter is furious at their late return and retells the story of how he found them as infants, raised them, trained them in martial arts, and how the humans above nearly destroyed them. Promising to be more careful, they go for another supply run and are spotted by the high school student and aspiring reporter April O’Neil (Ayo Edebiri). She is looking into a series of daring high-tech robberies that have spawned a curfew that may cancel the school prom. A smitten Leonardo decides that they should help out by thwarting the next big heist. Oh, but this puts the quartet in conflict with a nastier group of mutated critters, led by the powerful Superfly (Ice Cube). Can the teen turtles stop them and keep “under the radar”? More importantly, can they spring into action without angering Master Splinter?

Well, this witty retelling is certainly one of this year’s pleasant surprises. That may be due in large part to the new producers/handlers of this feature franchise, none other than the SUPERBAD duo of Evan Goldberg and Seth Rogan, along with James Weaver. And Evan and Seth were also part of the writing team adapting the creations of Peter Laird and Kevin Eastman (who get a couple of nice background visual “nods”). It’s obvious that the team has a great deal of affection for the source material, though they indulge in a few playful “tweaks” at the “mythology”. A big part of the “re-energizing” is the decision to have the teen turtles actually voiced by teenage actors (a couple of them have since aged past 18), giving the film a distinct sound as if we’re listening in on kids at a party “cracking wise” and “goofing” on each other. But Rogan also joins in on the fun as the voice of one of the “meanie mutants” along with screen vets Rose Byrne, Paul Rudd, and Hannibal Buress. The biggest “standouts” and scene stealers may be the two opposing “leaders”. We can imagine Ice Cube’s sneer (and see a bit in the rendering) as the swaggering Superfly. And could anyone be more “spot on” than Chan as the worrying, stern but sweet Master Splinter? Of course, all of that talent at the “mike” would be a really swell audiobook without the superb look and movement of the animation. Director Jeff Rowe (fresh off THE MITCHELLS VS. THE MACHINES, which isn’t as polished as this) with co-director Kyler Spears have taken a bit of inspiration from the first SPIDER-VERSE movie, to give the computer animation a real loose “sketchy” look. The outlines are constantly moving, often ‘sliding off” the mass of the figures as though they were scribbled by a pre-teen in the margins of his spiral notebook with colored markers or ballpoint pens. And inside those wriggling lines, the characters, mainly the turtles, have the look of clay models, especially when the light saturates them. It’s not as gorgeous as Miles and his pals, but it feels right for this urban adventure. As for that character design, the turtles don’t have the same standard body proportions even though they retain the identifying mask and belt colors. The same unique design works for O’Neil, though I wish they had eased up on the scenes of her panic “hurling” (c’mon we’re not back in BABYLON). I was tickled by the “free-standing” silver eyebrows of Splinter, while the Superfly crew looked equally fearsome and funny (loved SF’s torso claws). The pace is smooth, even as it gives in to the popular trend of having too many “endings” in the third act. It’s a minor quibble as this 2023 edition is a splendid revisit/restart that reminds us of the wacky exploits from nearly 40 years ago. Hopefully, the concession stand will be well stocked with pizza when the fans return to revel in TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM. Welcome back you “heroes on a half-shell”.


3 Out of 4


TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM begins playing in theatres everywhere on Wednesday, August 2, 2023

Terrifying INSIDIOUS: THE RED DOOR Final Trailer Hits

Ty Simpkins in Screen Gems INSIDIOUS: THE RED DOOR

Here’s a first look at the final trailer for INSIDIOUS: THE RED DOOR, in theaters July 7. James Wan, Leigh Whannell and Oren Peli’s “little horror franchise that could” has earned $555 million worldwide on a combined $26.5 million budget, making it the second-most profitable major horror franchise behind Paranormal Activity. (Forbes)

The original cast from INSIDIOUS is back with Patrick Wilson (also making his directorial debut), Ty Simpkins, Rose Byrne and Andrew Astor. Check out the original INSIDIOUS trailer from 2010 HERE.

Horror fans – get ready for more nightmares and the terrifying conclusion.

In INSIDIOUS: THE RED DOOR, the horror franchise’s original cast returns for the final chapter of the Lambert family’s terrifying saga. To put their demons to rest once and for all, Josh (Patrick Wilson) and a college-aged Dalton (Ty Simpkins) must go deeper into The Further than ever before, facing their family’s dark past and a host of new and more horrifying terrors that lurk behind the red door.

Also stars Sinclair Daniel and Hiam Abbass. Produced by Jason Blum, Oren Peli, James Wan and Leigh Whannell. The screenplay is written by Scott Teems from a story by Leigh Whannell, based on characters created by Leigh Whannell.

Catch INSIDIOUS and INSIDIOUS 2 on MAX. https://www.max.com/movies/738872bb-70ce-4ddc-afc8-bf6a98437fff https://www.max.com/movies/0d66aca9-cc58-4f8e-b16d-b74d174d3e7c

TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM Trailer Drops And It’s Cowabunga!

L-r, APRIL O’NEIL, DONATELLO, RAPHAEL, MICHELANGELO and LEONARDO in PARAMOUNT PICTURES and NICKELODEON MOVIES Present A POINT GREY Production “TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM”

Check out the brand new trailer for TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM.

After years of being sheltered from the human world, the Turtle brothers set out to win the hearts of New Yorkers and be accepted as normal teenagers through heroic acts. Their new friend April O’Neil helps them take on a mysterious crime syndicate, but they soon get in over their heads when an army of mutants is unleashed upon them.

This looks like so much fun! Based on the Teenage Mutant Ninja Turtles characters created by Peter Laird and Kevin Eastman, this latest eye-popping movie about how:

Splinter taught them to be ninja teens
[ he’s a radical rat ] Teenage mutant ninja turtles
Leonardo leads, Donatello does machines
[ that’s a fact, Jack ] Teenage mutant ninja turtles
Raphael is K00L but rude
Michaelangelo is a party dude
Teenage mutant ninja turtles
Teenage mutant ninja turtles
Teenage mutant ninja turtles
Heroes in a half shell, turtle power

looks AMAZING!!

The cast includes Micah Abbey, Shamon Brown Jr., Hannibal Buress, Rose Byrne, Nicolas Cantu, John Cena, Jackie Chan, Ice Cube, Natasia Demetriou, Ayo Edebiri, Giancarlo Esposito, Post Malone, Brady Noon, Seth Rogen, Paul Rudd and Maya Rudolph.

The film is directed by Jeff Rowe, co-directed by Kyler Spears, with a screenplay by Seth Rogen & Evan Goldberg & Jeff Rowe, Dan Hernandez & Benji Samit.

See TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM in theaters on August 2.

Go Into The Further In First Trailer For Patrick Wilson’s INSIDIOUS: THE RED DOOR

Sony Pictures has released the first trailer and poster for the upcoming INSIDIOUS: THE RED DOOR.

In INSIDIOUS: THE RED DOOR, the horror franchise’s original cast returns for the final chapter of the Lambert family’s terrifying saga. To put their demons to rest once and for all, Josh (Patrick Wilson) and a college-aged Dalton (Ty Simpkins) must go deeper into The Further than ever before, facing their family’s dark past and a host of new and more horrifying terrors that lurk behind the red door.

The original cast from Insidious is back with Patrick Wilson (also making his directorial debut), Ty Simpkins, Rose Byrne, and Andrew Astor. Also starring Sinclair Daniel and Hiam Abbass. Produced by Jason Blum, Oren Peli, James Wan and Leigh Whannell. The screenplay is written by Scott Teems from a story by Leigh Whannell, based on characters created by Leigh Whannell.

INSIDIOUS: THE RED DOOR Opens July 7th.

Ty Simpkins in Screen Gems Insidious: The Red Door
Patrick Wilson in Screen Gems Insidious: The Red Door

IRRESISTIBLE (2020) – Review

As the “year from Hell” AKA 2020 continues to drag on and on, we can all agree that the oppressive tension of our current state could be deflated by a good dose of humor. In other words, we can all use a “big laugh”. Really. And so, amongst the somber “indie” premieres streaming on-demand (and a few, ah I recall, theatres are slowly unlocking their doors), comes a flat-out, “LOL” comedy that leans heavily on satire. And just what is it taking on? Well, you wouldn’t think this topic would lend itself to laughs at this date. No, it’s not set in the arenas of death and disease. nor the “racial struggle’ (but it does get a few “jabs” in). Hard to fathom, but this farce is set squarely in the world of politics. And before you groan or sigh, a big bonus is the reuniting of two giants of topical TV comedy who have not worked together in nearly 15 years (cause enough for celebration). They help make this flick simply IRRESISTIBLE.


Just be warned that it does begin on a dark depressing note. After a quick overview of the recent careers of DNC media guru Gary Zimmer (Steve Carell) and his nemesis for the GOP, Faith Brewster (Rose Byrne), the story slams into Election Day 2016. Gary becomes the whipping boy/laughing stock of the cable news shows. But though he’s down, he finds the strength to return to his office and staff. There one of his crew shows him a YouTube video from a recent town hall meeting in Deerlokken, WI (pop. ten grand). Mayor Braun (Brent Sexton) and his “good ole’ boys” are about to push through an ordinance that would deny access to economic recovery funds to the “new arrivals”. Just as the final hammer is about to go down, in strides a local farmer, Jack Hastings (Chris Cooper) to the microphone. Braun tries to shut him down, but Hastings makes an impassioned, heartfelt plea to stop their plans. Zimmer is mesmerized then stunned when he finds out that this voice for the disenfranchised is “ex-military”, a colonel to boot. Could he be a new voice for the party, one that could appeal to everyone? That chance is enough to get Gary on a flight to connect with the “Colonel” (his hometown nickname). When they meet, Zimmer tries to convince him that he would be a great Democratic candidate for mayor. Despite some interest from the widowed farmer’s twenty-something daughter Diana (Mackenzie Davis), Hastings declines. The next day he somehow has a change of heart. He’s in the race, but only if Zimmer himself (no other staffers) runs his mayoral campaign. Gary agrees, but soon word of his presence attracts (much like blood in the water to a shark) Brewster who flies in to run the re-election push for Braun. Just what will happen to this sleepy little town when two media titans make it their personal battleground, as the consultants and campaign cash begin to arrive?

The last time we saw (instead of hearing him in the Gru/Minion-verse) Mr. Carell on the big screen two years ago, he was spreading his “dramatic wings” in the films VICE (though “Rummy” could be abrasively funny), BEAUTIFUL BOY, and WELCOME TO MARWEN (if you saw that at the theatre, well you’re part of a small elite few). In the last few years, he’s been getting back to comedy via the small (streaming) screen with Apple TV’s “The Morning Show” and Netflix’s “Space Force” (which should be much better). With this film he reminds us that he’s a terrific comedic leading man, reminding us of Cary Grant’s manic turn in ARSENIC AND OLD LACE and the movie resume of the recently departed and much-missed Gene Wilder. Steve takes up his exasperated, flustered everyman persona with great success. Unlike Carell’s “Office” role and especially his “Anchorman” dim bulb, Zimmer is smart, but his ego often gets the better of him and keeps him from really connecting with these small-town folks (think Eddie Albert in “Green Acres”). Plus his ambition often has him verbally “running over” anyone who can’t “get it” and crushing their feelings. He’s more concerned with winning than in really helping his candidate or the town. And who does he really want to defeat? Not Braun but his arch-enemy Brewster played with dead-eyed malevolence by the low-key, but still smoldering Byrne. With her perfect bright blonde locks and eyes at half-mast, Brewster is a soul-less non-stop spewer of lies and half-truths (a big plus in her line of work). Then in her more intimate moments, Byrne is like an indifferent cat playing with a mouse as she engages in a twisted mating dance with Zimmer (that old adage about “strange bedfellows”). These are two great adversaries who may channel their mutual disgust into unbridled lust. At the center of their newest clash is Cooper who brings a Jimmy Stewart/Henry Fonda “aw shucks” sincerity to the role of Hastings. But Cooper doesn’t keep him on a pedestal as he shows us the man’s discomfort at self-promotion, first at a clumsy press announcement then at fund-raiser in NYC (he hates “passing the hat”). He’s got great support and rapport with Davis as his down-to-Earth only child whose fresh-scrubbed wholesome visage offers more fuel for Zimmer’s efforts (maybe it’s that whole “farmer’s daughter” thing). As part of Zimmer’s staff, Topher Grace and Natasha Lyonne score big laughs, but the main “scene-stealer” might be the wonderful slapstick cameo by classic comic master Bill Irwin (if he’d been born 100 years ago we’d be talking about him alongside Chaplin, Keaton, and Lloyd) as a wonky, tech-enabled “gazillionaire’.

So what was the reunion that I hinted at a while back? Well, you see, this film is written and directed by Jon Stewart, Carell’s old “Daily Show” co-star (kinda’ since Jon’s name was in the title), his first since 2014’s ROSEWATER. And let me say, no shout “Welcome back!!”. Yes, that last film was compelling and well-done, but this sophomore effort really hits all the right notes. Though it stumbles a bit in the opening moments with a montage of the two “spinners” spewing unvarnished truths, it “hits the ground running” post-presidential election as Zimmer fights a losing battle with his now sentient household tech (imagine Hal-9000 saying “I don’t like your tone”). And Stewart gets the Wisconsin town’s look and feel just right. After its military base shut down, the once-bustling main street is a boarded-up husk with the signs fading in the sun. Later Stewart shows his knack for parody with several phony TV spots for his candidates that are hysterically and painfully authentic (in one Col. Hastings just blasts a pond with a machine gun for 15 seconds). The topper may be the town “election fair” in which all the specialty (and fringe) interest groups have set up tables in the park. The swipes at the media giants work well since they use the actual cable networks names like Fox, CNN, and MSNBC complete with actors looking very close to the true “on-air talent”. But Stewart doesn’t neglect his characters while tossing his satiric grenades. Despite his faults (or perhaps because of) we really care about Zimmer, making us root for him despite his arrogance. And we’re protective of Hastings, a good man in danger of ignoring his staunch values. Luckily Stewart’s clever script throws us plenty of curves as we near the big election day. And yes, the finale leans a tad hard on lecturing, and “this could happen” (but will it be on the final), but that’s easily forgiven after several truly inspired comic ‘set-pieces”. It’s thought-provoking and rib-tickling, making IRRESISTIBLE impossible to resist. So vote early and often!

3.5 Out of 4

IRRESISTIBLE plays in select theatres and is available as a Video On Demand via most cable and satellite systems along with most streaming apps and platforms.

WAMG Giveaway – Win FandangoNOW Promotional Code For IRRESISTIBLE Starring Steve Carell, Rose Byrne And Chris Cooper – Premieres At Home On Demand June 26th

IRRESISTIBLE will premiere At Home On Demand June 26th.

WAMG is giving away to a few lucky winners FandangoNOW Promotional Codes.

To enter: Leave your name and email address in our comments section below.

1. YOU MUST BE A US RESIDENT. NO DUPLICATE ENTRIES

2. WINNER WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES.

No purchase necessary.

For more information go to watchirresistible.com

Starting on June 26th, The Most Irresistible Comedy Event of the Summer will be available on demand for a 48-hour rental period for $19.99.

From writer/director Jon Stewart comes the comedy of a Democrat political consultant (Carell) who helps a retired Marine colonel (Cooper) run for mayor in a small Wisconsin town.  

The film is written and directed by Jon Stewart. It is produced by Stewart, Lila Yacoub and Plan B Entertainment’s Dede Gardner and Jeremy Kleiner. 

Steve Carell stars as Gary Zimmer and Rose Byrne as Faith Brewster in IRRESISTIBLE, a Focus Features release. Credit: Daniel McFadden / Focus Features

LIKE A BOSS – Review

In the last couple of weeks we’ve welcomed a new year and a new decade, so let’s continue the festivities down at the multiplex with a new flick that celebrates friendship. Now we know that those “bad boys” will be back next week, so we’re being treated to a rarity, a female “buddy” comedy. Yes, there were a few of these attempts last year. THE HUSTLE and CHARLIE’S ANGELS flopped, while BOOK SMART soared with it’s two devoted high school heroines. In some ways, this new flicks expands on the latter film, namely what happens to these two lifelong BFFs as they continue on well past their academic years and begin a business together. Plus, in a refreshing change from the studio norm, there are no messy romantic entanglements to come between them (perhaps we’re past the cliche of “fighting over the same guy”). Still, there are lots of bumps in this tale, since one of the pals feels that she’s got to step things “up” and conduct herself more LIKE A BOSS.

During the film’s opening titles, candid photos and news clippings get us “up to speed” on the long friendship Of Mel (Rose Byrne) and Mia (Tiffany Haddish). Well, more like “sisterhood” since Mel’s drug-addled mom skipped town and Mia’s family embraced her during those teenage years. That’s when the ladies began their co-careers as they created and sold cosmetics in Mia’s garage. Cut to Atlanta today as the two share that old family two-story, brush their teeth in the side by side bathroom sinks, and carpool in a far from new “economy compact” to their “side-street” storefront salon/shop. They’ve got a couple of employees: an eccentric craftsman, Barrett (Billy Porter) who whips up their one-of-a-kind shades of lipstick and beauty products, and Sydney (Jennifer Coolidge), the daffy much-married clerk who also applies those said items to those in need of a “touch-up”. Things seem to be going well, but Mel, who handles the bookwork, is worried about the massive several hundred thousand dollar debt hanging over them. And all their old school chums seem to be married and raising babies in luxury. Then the answer to Mel’s worries walks through the door. Josh Tinker (Karan Soni) the assistant to the owner of a worldwide cosmetics brand informs them that his boss is impressed with their ideas, especially a tiny bag of mini-make-ups called the “one night stand” kit, and wants to meet with them. The next day at the opulent HQ, the famous cosmetics mogul Claire Luna (Salma Hayek) offers to buy a controlling (51%) interest in the ladies’ brand. Mel wants to jump on it, but Mia doesn’t want to give up all control. They suggest Luna takes (49%), and she begrudgingly accepts. After the duo leaves, Luna tells Tinker that she’ll destroy Mel and Mia’s friendship, then swoop in and gobble up their company. But there’s no way these two “besties” will ever break up, not over money, right? Right?

Watch out, this trailer is “not safe for work”!

The film’s momentum is propelled by the energetic, “no holds barred” comedic “force of nature’ that is Ms. Haddish. Her every scene crackles, whether she’s clashing with Mel, lending a friendly assist to a make-up model, or cavorting in the kitchen for a “post passion” pancake feast prepared by her much-younger “booty call” played by Jacob Latimore. She’s counter-balanced by the more restrained, awkward performance by Byrne whose Mel, unlike Mia, doesn’t want to “break bread” with her own “sleep-over stud”. She’s more timid, leading to the conflict as she desperately tries to appease her new investor (or financial rescuer). And as she did in the NEIGHBORS flick, Byrne is a deft physical comic, especially as she tries to blend in and chat with some college ladies (mostly to gather consumer intel). But these two different personas combine to become a terrifically funny team with their meshed spirits (and lots of “weed”) needed to face off against the diminutive locomotive, ready to roll over anyone, played by the fiesty Hayek. She’s clearly having a great time as the cartoonish (Mia even calls her Jessica Rabbit) Luna whether she menacingly twirls a gold (naturally) golf club or hops atop a bright red footstool to lord over her throngs. Kudos for making this lady villainess just as..well maybe more…ruthless as any male menace. And the trio is given great support by several comedy veterans. Soni is a superb smirking sycophant as ‘toadie” Tinker. Coolidge (a great part of “mockumentaries”, but forever “Stifler’s Mom”) keeps every scene she’s in a bit off balance with her unpredictable line delivery. Plus she’s a great partner with Porter who says so much with an eyelid at “half-mast” or a curled lip. And his “emotional exit” from a really awful Lunch is a flamboyant farce. Another unexpected but terrific teaming is that of Ryan Hansen and Jimmy O. Yang as a couple of sexist “bros” who somehow create their own line of cosmetics and become another weapon for Luna’s attack on the double “M’s”. All these actors can really “Bring the funny” and deliver big laughs.

Unfortunately, the script (which had three scribes) doesn’t give these comedy crusaders enough ammo to last the near 85 minutes of runtime. Director Miguel Artega keeps the pace taut in the film’s first half as characters are introduced and the big conflict is set-up. But then that lull after the first hour sets in (a problem for so many big-screen comedies), and the flick just can’t pick up steam once more. Perhaps that’s because some big “comic sequences” don’t have much of a pay-off. Case in point: a birthday party cooking class looked to mimic the BRIDESMAIDS digestion at the dress shop scene just fizzles out after much screeching and gross food foolishness. Perhaps the producers thought all could be saved by a big final minutes group song and dance number (sorry, nobody can cover an iconic Tina Turner tune), a cute cameo (it did make me smile for a bit), and a final plea for “girl power” togetherness. It’s a real shame because the cast is so talented, but LIKE A BOSS needed another few runs through the writers’ room. Cause you know what they say about putting lipstick on a …

2.5 Out of 4

I AM MOTHER Starring Hilary Swank And Rose Byrne Debuts On Netflix June 7

Here’s a first look at the new trailer for Netflix’s I AM MOTHER. The movie will be on Netflix June 7, 2019.

I AM MOTHER is a sci-fi thriller about a teenage girl (Clara Rugaard), who is the first of a new generation of humans to be raised by Mother (Rose Byrne), a robot designed to repopulate the earth after the extinction of humankind. But the pair’s unique relationship is threatened when an injured stranger (Hilary Swank) arrives with news that calls into question everything Daughter has been told about the outside world and her Mother’s intentions.

Visit the film page here:
https://www.netflix.com/title/80227090

Mother

INSTANT FAMILY – Review

So the family’s all together for the big holiday, well why not head over to the multiplex to enjoy a family film? And hey, “family” is even in the title. That’s what the studios are counting on, hoping audiences will go for a breezy all-ages comedy in between those somber awards contenders. Most of the time, the studios will go a couple of different ways with a “family” comedy/drama. Either it’s a multi-generational gathering of uncles and cousins like PARENTHOOD and more recently, the reviled LOVE THE COOPERS, or it’s about a family with lots and lots of kids like CHEAPER BY THE DOZEN (original and remake) along with blended families like YOURS, MINE, AND OURS (ditto), which begat that iconic TV show and its feature film THE BRADY BUNCH MOVIE. But this new flick has fewer kids and a message. The filmmakers want to give us a look at the foster parenting system (which often leads to adoption), and perhaps inspire viewers to get involved. The movies have tackled the subject, usually in “tearjerkers”, notably in 1941’s PENNY SERENADE. The kids here aren’t the typical movie kids looking for parents. They’re not plucky orphans like ANNIE, because, well, they’re not technically orphans. Lots of heart-tugging and comic complications occur when they join a couple and become an INSTANT FAMILY.

Pete (Mark Wahlberg) and Ellie (Rose Byrne) are a fun-loving married couple in their thirties (can we still call them “yuppies”) who work together as “house flippers” (buying run-down homes, fixing them up, and selling them for profit). As they’re showing off their newest property to Ellie’s pregnant sister and her hubby, a causal comment gets them pondering. Ellie and Pete think that maybe they should start a family. Or maybe not, as Pete wonders if he could keep up with a newborn. This prompts Ellie to consider fostering a child. After scanning and viewing countless adorable tykes online, they call the local fostering center. There the duo meets another duo, social workers Karen (Octavia Spenser) and Sharon (Tig Notaro), who welcome them into a class for prospective foster parents. After several sessions with the other couples, it’s time to meet the kids at a big foster parenting picnic, sort of a mix and match. Pete notices that the tots and pre-teens are getting all the attention while the teenagers are left to mingle amongst themselves (as Pete crudely comments, “People are avoiding them like they’re dipped in s#*t!”). One of the teens, Lizzy (Isabela Moner) overhears this and fires back with a snarky retort. That seals it for Ellie and Pete, they want to foster her. Ah, but there’s a hitch! Lizzy doesn’t want to be separated from her two younger siblings. A “package deal”. No problem as the couple takes in Lizzy, her twelve-year-old shy, insecure brother Juan (Gustavo Quiroz) and high-spirited six-year-old sister Lita (Julianna Gamiz). This “instant family” endures many highs and lows as Ellie and Pete hone their parenting skills. The main challenge is Lizzy who pushes back against the duo. Then things get really complicated when the kids’ birth mother is released from a court-ordered drug rehab program. Will the kids go back to live with her? And will Pete and Ellie be able to let go and do what’s best for the trio?

Wahlberg and Byrne have an effortless chemistry, making you wonder why these two talented actors haven’t been paired up before. As the energetic, firmly focused Pete, Wahlberg has smoothed out some of the rougher edges of his usual screen comedy persona, as in the often coarse TED and DADDY’S HOME, film to give us an affable everyman, a “good Joe” eager to accommodate though his enthusiasm often gets the better of him. The same can frequently be said for Byrne’s Ellie who’s just as smitten with these new additions to her life. And she can “go off the deep end” at times adding a little bit of zany spice to the couple’s partnership (they each know just when the other is losing focus). The duo has a formidable sparring partner in Moner as the strong-willed teen Lizzy. She’s not as easily won over as her siblings and rankles when the “pretend parents” doubt her method of dealing with the wee ones (Lizzy’s been their protector for seemingly quite a while). But Moner also shows us the vulnerable side of Lizzy, as she starts to let her guard down and embrace this home before “catching herself’ and “shutting that door”. It’s a complex role that this impressive young actress handles with great skill. There’s another great duo in addition to Pete and Ellie, and that’s Spenser and Notaro as the Oscar and Felix of social workers, Karen and Sharon. Spenser “shoots from the hip” with a boisterous “no B.S.” attitude while Notaro is the quieter, “by the books” guide to fostering challenges. Though their methods differ, both are committed to the same goal and provide some of the film’s best laughs. Speaking of inspired match-ups, kudos for casting the stars of the two biggest comedy hits of 1980 as Ellie’s parents, Julie (AIRPLANE!) Hagerty and Michael (CADDYSHACK) O’Keefe. Hagerty has an ethereal child-like, loopy air as Jan in stark contrast to Margo Martindale as Pete’s “steamroller” mother, Sandy. This “force of nature” provides another source of comic conflict as she tries to get everything and everyone back on track. Quiroz is endearing as the jittery Juan who over-apologizes as he frets over any misstep, while Gamiz is adorable and often exasperating as “I only eat chips” Lita. Aside from Notaro, several other stand-up comedy stars pop up in supporting roles, such as Tom Segura as trouble-maker Russ and particularly Iliza Shlesinger as the single parent foster candidate October, who has a very specific list of requirements for his desired child.

Comedy film veteran Sean Anders (HORRIBLE BOSSES 2 and the DADDY’S HOME flicks) gets the most of the slapstick situations and keeps the pacing fast and frantic for funny “throw-downs” and verbal fights. But he handles most of the dramatic scenes with equal ease. making a simple scene of Ellie gently brushing Lizzy’s hair very moving and warm. The film’s main flaws seem to come from the script he co-wrote with John Morris. As we many comedies, especially domestic life sagas, the story feels like several episodes of a TV situation comedy crammed together, though with the fostering classes and at home adjustments and problems, it could be two separate sitcoms thrown in a mixer. There are the wacky potential parents butting up against Ellie and Peters’ challenges and triumphs. Big conflicts are brought in (Lizzy is “sexting”), then quickly dismissed with a gag and forgotten. The birth mother is introduced for the climactic final act, but she has little to do other than acting uncomfortable and staring listlessly. The biggest misfire is the film’s big emotional finale. As the principals are pleading and pouring their hearts out, the wacky down-the-street neighbor wanders in, almost as if from another movie, to sabotage the pathos with some awkward (I really enjoy this comic actress, but her annoying role baffled me) asides. This scene is immediately followed by an uplifting epilogue that brings in almost the entire cast for a feel-good finale that would’ve seen cloying and contrived in a 60’s sitcom. I will give them points for discussing the “white savior” aspect of this and even name-checking THE BLIND SIDE, but this doesn’t excuse the many loopy bits of whimsy (who tries to douse a fire with ketchup when several glasses of water are within reach). This movie is full of good intentions as it encourages childless couples to consider the foster system, but it doesn’t make for a consistent comedy or drama. INSTANT FAMILY isn’t instantly forgettable, but it’s not the movie that the noble subject deserves.

2.5 Out of 5

WAMG Interview: Sean Anders – Director of INSTANT FAMILY

Sean Anders made a name for himself in Hollywood as a writer of rowdy raunchy comedies for the last dozen or so years. For the past decade, he’s become a double threat by directing several of his screenplays, such as THAT’S MY BOY, the two DADDY’S HOME flicks, and the second HORRIBLE BOSSES movie. With this Friday’s new release INSTANT FAMILY, Anders goes for the hat trick as co-writer, director, and producer. Plus he’s gotten a PG-13 rating rather than his usual R. As you’ll read here, this is in service of a story that’s close to his heart. Recently Mr. Anders visited St. Louis to promote the film. I was able to ask him a few questions, along with 590 the Fan and KSDK.com’s Dan Buffa, on October 30.

Jim Batts: This is one of the few comedies that could also be called a “message” movie. I believe Sam Goldwyn is credited as saying, “If you want to send a message, use Western Union” (if anyone remembers telegrams). But this film works. Was your original idea to do a comedy promoting foster parenting, or did this occur to you as you made your own “instant family”, thinking “Hey, this is funny. It should be in a movie.”?

Sean Anders: A little bit of both, really. After hearing several of the hilarious and sometimes heartbreaking stories, my writing partner John Morris pushed the idea of turning this into a film. I jumped at the chance to put the word out about the experience of taking these kids in, and how that can change your life because most people just don’t know about this. Fortunately, I’ve kept in contact with my old social worker who in turn put me in contact with several other families who shared their stories and situations, many of these found their way into the film.

JB: Much of the film cuts back and forth between Pete and Ellie’s (Mark Wahlberg and Rose Byrne) homelife and the parenting classes they attend with several hopeful parents. Was there ever a thought of doing an initial film just about the classes and saving the introduction of the kids for a sequel?

SA: Not really, because we wanted to show the entire scope of the fostering experience. Bringing the kids in was important because a lot of folks that might be thinking about getting involved were sometimes afraid of the kids who have sent so much time in the system. We want to show that many of these fears are unfounded. That’s why we cast several foster families in the big crowd sequences.

JB: The film has autobiographical elements, though Pete and Ellie are not in the entertainment business, but rather are “house flippers”. Did you go through several possible occupations, or was the thought that the couple was “flipping” their lives?

SA: The house flipping has been a hobby for my wife and I. Just like the movie couple, we like to relax at night and watch the cable “house renovation” shows that we’ve DVR’d. But yes, that part of the story lends itself to that metaphor! They’re having a great life together, but something seems to be missing.

JB: Wahlberg and Byrne have such terrific chemistry, you’d think they had played a couple onscreen before. Was the process of pairing them a long one, or was she in mind when you and John wrote the screenplay?

SA: Well, John and I had a long list of ideas for possible Ellies for Pete (Mark was on board from the onset). We needed someone who could handle the comedy and drama, plus an actress who would ask all the right questions about the story and the character. Rose fit the bill, and then some. I recall the first scene she shot with Mark was the one in which they look at the foster child website. After we cut, a couple of crew members remarked about their chemistry. They seemed like a couple who’ve been married several years.

JB: Isabela Moner (as the elder of the trio, Lizzy) delivers a powerful performance. Were you thinking of making the oldest child a male before meeting her, or was the dynamic always older girl, middle boy, and youngest girl?

SA: No, we always wanted that dynamic as it was very close to our own reality. Lizzy is a powerful force, trying to keep the kids together for the birth mother. She reflects many of the conflicts, showing that everything doesn’t “fall into place”. We were turned down by the teen foster child in own first attempt at adoption.

JB: Pete and Ellie aren’t the only terrific comedy team in the film. Karen (Octavia Spencer) and Sharon (Tig Notaro) are an inspired Oscar/ Felix pairing. And then there’s the casting of Ellie’s parents. Were you intending to reunite two of the stars of two comedy classics from 1980 as a gift to film fans of that era?

SA: That’s one of the great happy coincidences in movie making. Growing up, I was a big fan of both AIRPLANE! and CADDYSHACK, so I, and the rest of the cast and crew, were delighted to pair Julie Hagerty and Michael O’Keefe for the first time in a film. It’s not just nostalgia, as they are great together.

JB: Hagerty’s Jan is flighty and soft-spoken. Did you cast her to specifically as the opposite of Margo Martindale’s “steamroller”, Grandma’ Sandy?

SA: No, Jan and Sandy were always written that way. Julie saw and played Jan with almost a child-like quality, while we and Margo saw Pete’s mother as this bombastic “force of nature”.

JB: The Christmas “box” sequence is somehow both funny and tragic, something you’d usually associate with toddlers. Was this culled from a holiday at home, or did it come from interviews and research?

the interviewee earns a prize from the interviewer!

SA: This happened with my own son, Not only at the holidays but as we began to order more and more items from Amazon. He had to go grab those grinning boxes. And this came up in several stories from the families we talked to.

JB: Another remarkable scene that is unexpectantly moving is when Ellie brushes Lizzy’s tangled hair. The teen feels as though she’s about to bond with her foster parent, then fights the feelings, that she must remain loyal to her birth parent.

SA: Yes, this was a real human moment, where we wanted to go for the emotion rather than the “gag”. I was lucky to have a friendship with the late, much missed, filmmaker John Hughes. He gave me some great advice about screenwriting, “It’s not the size of the laugh, it’s how it feels”. Does it ring true? That’s more important. That’s one reason the message in the movie means more than getting laughs. I want people to come away from this movie with a better understanding of foster families and to erase the stigma around these kids. They aren’t weird misfits or monsters, they’re just good kids that deserve a chance. My hope is that more people will do the research and get involved. It’ll not only change their lives, but it’ll also bring joy to yours.

JB: Thank you for your time, Mr. Anders. And best of luck.

INSTANT FAMILY opens everywhere on November 16