Focus Features has acquired Academy Award® nominee Paul Schrader’s revenge thriller THE CARD COUNTER out of Cannes’ virtual market.
Written and directed by Schrader, whose celebrated works include Taxi Driver, Raging Bull, and his Academy Award®-nominated First Reformed, The Card Counter brings together the talents of Golden Globe winner Oscar Isaac (Inside Llewyn Davis), Emmy Award winner Tiffany Haddish (Girls Trip), Tye Sheridan (Mud), and Academy Award® nominee Willem Dafoe (At Eternity’s Gate).
Tiffany Haddish
Producers are Braxton Pope (The Trust, City of Gold), Lauren Mann (Swiss Army Man), and David Wulf (The Night Clerk, Inheritance) with executive producer Martin Scorsese. Other executive producers include William Olsson, Lee Broda, Ruben Islas and Stanley Preschutti. This marks the fifth collaboration between Schrader and Scorsese who previously worked together on Taxi Driver, Raging Bull, The Last Temptation of Christ and Bringing Out the Dead. Focus Features will distribute the film in the U.S. and Universal Pictures International will distribute internationally in UK, France, Switzerland, Italy, Spain, ANZ, China, SE Asia (excluding Singapore, Hong Kong, Taiwan and television), Japan, South Korea, Latin America and airlines.
Schrader said, “The folks at Focus are the best at what they do. Over the years I’ve been jealous of directors in the Focus fold. Now happily I am one.”
“At a time when many of us are left wondering whether it’s our circumstances that corrupt souls or if it’s corrupt souls that create the circumstances, no one can say for sure, but has anyone explored this more in film than Paul Schrader?” commented Focus chairman Peter Kujawski. “All of us at Focus can’t wait to hear and see what Paul has to say now more than ever before, and we’re very proud to help him bring this story to the world.”
Tell (Isaac) just wants to play cards. His spartan existence on the casino trail is shattered when he is approached by Cirk (Sheridan), a vulnerable and angry young man seeking help to execute his plan for revenge on a military colonel (Dafoe). Tell sees a chance at redemption through his relationship with Cirk. But keeping Cirk on the straight-and-narrow proves impossible, dragging Tell back into the darkness of his past.
The film also reunites Schrader with First Reformed collaborators cinematographer Alexander Dynan and editor Benjamin Rodriguez Jr. Production leads also include costume designer Lisa Madonna (Regarding the Case of Joan of Arc) and production designer Ashley Fenton (Beatriz at Dinner).
HanWay films represented the international sale of the film. Schrader’s rep, David Gonzales, and Endeavor Content handled the U.S. sale
Isaac is represented by WME and Inspire Entertainment, Haddish by Artists First and UTA, Sheridan by Mosaic and WME, and Dafoe by CAA and Circle of Confusion. Schrader is represented by David Gonzales. Both Sheridan and Isaac are also represented by attorney Mitch Smelkinson. The production is represented by attorney Joseph Lanius.
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 …
You’ll want to stay out of THE KITCHEN, not due to the heat but because of the stink. THE KITCHEN had all the right ingredients for a good crime thriller: a cast including Melissa McCarthy, Tiffany Haddish, Elizabeth Moss, Domhnall Gleeson, Margo Martindale, and Common, a setting in the 1970s in New York’s gritty Hell’s Kitchen neighborhood, and a femme-centric crime thriller premise about the wives of criminals taking to crime themselves when their husbands are no longer there to provide financial support. Yet is takes all that and turns it into a true stinker.
THE KITCHEN is based on a DC comic but
the premise sounds rather like the top-notch 2018 neo-noir WIDOWS,
which was inspired by a hit British TV show. Still, a good script
could make that work.
If only THE KITCHEN had a good script,
which it does not. Nor much sense at all. THE KITCHEN throws in every
possible crime thriller cliche as well as bits and pieces from other
films. The result is a big stinky mess, like a days-old pile of dirty
dishes left in the sink.
Of course, this is not the first film to waste a talented cast on a lousy script but it seems particularly egregious in this case, with a fine cast lead by gifted women. Andrea Berloff’s direction helps little but the heroic efforts of the actors are sometimes surprisingly effective in individual scenes. Still, those moments are not enough to rescue this film from its dreadfully nonsensical script. This film could have been so good, but sadly it’s not even close.
Kathy (Melissa McCarthy), Ruby (Tiffany
Haddish) and Claire (Elizabeth Moss) are the passive wives of some
low-level criminals who get caught during robbery, and are sentenced
to prison. While their husbands are locked up, the Irish-American
crime gang that Ruby’s husband Kevin (James Badge Dale) heads is
supposed provide financial support, but that turns out to be meager.
Maybe that is due to the low opinion Ruby’s crime boss mother-in-law
Helen (Margo Martindale) holds of the three wives.
It’s the 1970s, so these women all
start out as timid housewives. Melissa McCarthy’s character Kathy is
a classic stay-at-home mom, who seems happy to just be supportive of
her beloved husband Jimmy (Brian d’Arcy James). Her character has the
best marriage in the trio, with Ruby under the thumb of her
mother-in-law, who resents her for being African American instead of
Irish-American. Elizabeth Moss’ Claire who is abused by her violent
husband Rob (Jeremy Bobb). The cast is rounded out by Domhnall
Gleeson as Gabriel, a one-time hit-man for the gang with a romantic
thing for Claire, and Common as one of a team of FBI agents keeping
tabs on the gang.
Not surprisingly, when these
downtrodden women find themselves in dire financial straits, they
decide to rebel against their expected roles – remember this is the
’70s – and take up crime themselves. They decide to take control of
the gang, or at least take over the protection racket from the men in
the gang.
This proves surprisingly easy to do, so
much so that the audience might wonder if the film is going to go in
a lighter, more comedic direction. Until the killing starts. Weirdly,
these women who start out so timid in speaking up to men or
challenging their male authority seem not at all squeamish about
killing off anyone standing in their way, not just fellow criminals
but ordinary citizens.
After they dismember a body in a
bathtub, there is no going back to a lighter tone, yet THE KITCHEN
seems to want to do just that, as if these women were just partners
in a bakeshop or other legit business. McCarthy’s character even
cites the “good they have done for the community” in one
unsettling scene, as if all the killing escaped her attention.
Besides the disconnect in tone – violent crime thriller alternating
with romance and female buddy picture – the film is packed with crime
movie cliches, idiotic dialog, nonsensical plot twists and
inconsistent characters. The film just keeps digging the hole deeper,
until it buries itself in derivative muck.
It is a shame to waste this wonderful
cast on this mess of a movie. If only the filmmakers had decided to
add a real script, they might have had something, instead of wasting
the audience’s time and money.
As most of the schools finally free the tots and teens for Summer break, it’s time to hop aboard the rickety rollercoaster that is the 2019 slate of animated feature films. To paraphrase ALL ABOUT EVE’s Margo Lane, “It’s a bumpy ride”. We started with the “better than expected’ modest thrills of the last of the HOW TO TRAIN YOUR DRAGON trilogy. But sequels were not a sure bet as the Lego follow-up took a dive, quickly joined by the forgettable WONDER PARK and UGLY DOLLS. Laika’s MISSING LINK was an inventive ray of sunshine, but like most of their releases tepid box office kept the critical darling from soaring. Now comes another sequel as the folks at Universal’s animation off-shoot Illumination hope to have another franchise aside from Gru and the Minions (and the Seuss flicks like THE LORAX and last year’s Grinch). They had a modest success three years ago with the adventures of domesticated animals when the owners are out (kind of like when Andy’s away from his toys). Can box office lightning strike again as we rejoin those cute critters in the rather uninspired (talking about the title…why not a “wrath of…” or a “revenge of…, sheesh maybe a “…go number two”) named follow-up THE SECRET LIFE OF PETS 2.
We’re back in the Big Apple which looks as shiny and ripe as 2016, as the new flick begins. Lil’ terrier mix mutt Max (voice of Patton Oswalt) is mellow as part of human owner Katie’s (Elle Kemper) home along with the much longer, shaggier Duke (Eric Stonestreet). Then life throws him a curve when she meets Chuck (Pete Holmes) and soon the old cycle begins: first comes love, then comes marriage, then comes sweet lil’ Liam in a baby carriage. Max, who used to scoff at fellow pooches with kids, now is smitten with the tyke. After Max develops an itching tic (caused mainly by Liam going to preschool), the vet fits him with a big plastic “collar-cone”. The mood is lightened when Chuck decides they should drive out to the country for a visit to his uncle’s farm. But before they depart Max entrusts his beloved “squeaky toy” bumblebee to the jittery, still infatuated with him Gidget (Jenny Slate). Of course, she loses it as soon as he leaves, as it bounces through the open window of a cat-loving elderly lady. But she’s gotta’ get it back…somehow? Meanwhile, on another floor, the now domesticated pet rabbit Snowball (Kevin Hart) enjoys the superhero suit his owner fits over his fur. So much so that he adopts an “alter ego’, Captain Snowball. Still, he’s stunned when a fiesty flirty pup named Daisy (Tiffany Haddish) arrives with a mission for the masked, caped crusader. While in the cargo hold of an airplane, she became friends with a lonely Chinese white tiger cub named Hu. When she sees him being mistreated by his circus owner, “Happy” Sergei (Nick Kroll), Daisy is determined to rescue him but needs the help of CS. But how’s Max and Duke doing in the country? Despite all the odd noises and wildlife, they get used to sleeping outdoors. But then they have to deal with the farm’s tough “work” dog, Rooster (Harrison Ford) who has little use for Max’s fears and phobias. Will they ever become friends? And more importantly, will these three plots ever converge for a big finale’?
The voice cast slips back into their old characters pretty effortlessly, though there are a couple of new additions and one major change. The original voice of Max was another stand-up comic who has fallen from grace (not “family friendly” any longer, to say the least), so Mr. Oswalt lends his unique vocal styling to the lead role. Unfortunately, he just kept reminding me of his performance in the vastly superior RATATOUILLE a dozen years ago (wow!). Slate brings lots of energy to the often one-note, too manic Gidget. As with the last film I find Mr. Hart much more endearing as a fluffy powderpuff-like bunny, than his work in any live-action flick (perhaps there’s less mugging as a ‘toon). Plus, he’s got a great partner in newcomer Haddish as Daisy the dog. Though the two worked together in last year’s so-so comedy NIGHT SCHOOL, their chemistry is more potent here. Back to the vets, Dana Carvey scores lots of laughs once again as the cantankerous ole’ hound dog Pops (think of a furrier, cuddlier Walter Brennan). Would love to see him in a short, perhaps mentoring the same puppies (and one kitty). Speaking of cantankerous, the new flick’s most inspired and endearing addition might be Ford as a canine take-off on most of his more recent roles. Somehow it sounds like he’s having a great time of it (well, the often surly TV guest is making the press rounds for the flick). That gruff, no BS charm shines through his cartoon persona, making us hope for a spin-off, or a more prominent role in the next one (perhaps he and his owner uncle could vacation in the city, or relocate).
As enjoyable as Ford and the actors are, the film, like its predecessor is largely forgettable. Its main problem is the odd story structure, jumping from the three plots at random (A story to C, then B, then C, then A…) often derailing any momentum started on each tale (Max is facing a fox and…we’re back with the “cat lady”). The main villain seems to have wandered in from a Gru gathering (Sergei’s a stretched-out Boris Badenov), and after this year’s DUMBO remake debacle, can the whole “sinister circus” trope be retired? Though this clocks in at under 90 minutes, the erratic pacing makes us ponder the weird “rules” for this world. Why do some animals talk while others growl and squeak (sure Daisy says she can’t understand Hu’s “wild” patter, but Lil’ Sergei the “hench-monkey” wears a derby for gosh sakes)? The bigger question involves timespan. Max is around long enough to see his owner fall in love, marry, have a baby, then send the child to Pre-K, so how long do these pets live, since Max shows no sounds of slowing down? How the mind wonders. Anywho, the smallest of moviegoers may enjoy the bright colors (NYC is practically candy-coated) and the wild slapstick. I favored Snowball’s 2-D cell-style animated daydream as a buff, ripped “hare of steel” (some of the iconic John Williams 1978 Superman fanfare is thrown into the mostly random pop tune-filled soundtrack). But if you can’t hold out until the return of Pixar’s dream team (speaking of pop tunes, “The Toys are Back in Town”…soon), THE SECRET LIFE OF PETS 2 is a sweet, simple, somewhat formulaic frantic fantasy.
Illumination’s tenth feature, THE SECRET LIFE OF PETS 2, is the highly anticipated sequel to the 2016 comedic blockbuster that had the biggest opening weekend ever for an original film, animated or otherwise.
The film opens in theaters on June 7.
Packed with Illumination’s signature irreverence and subversive humor, this new chapter explores the emotional lives of our pets, the deep bond between them and the families that love them, and answers the question that has long intrigued every pet owner: What are your pets really doing when you’re not at home?
Terrier Max (Patton Oswalt) is coping with some major life changes. His owner (Ellie Kemper) is now married and has a toddler, Liam. Max is so worried about protecting the boy that he develops a nervous tic. On a family trip to a farm, Max and mutt Duke (Eric Stonestreet) encounter canine-intolerant cows, hostile foxes and a terrifying turkey, all of which only elevates Max’s anxiety. Luckily, Max gets some guidance from veteran farm dog Rooster (Harrison Ford, making his animated-film debut), who pushes Max to ditch his neuroses, find his inner alpha, and give Liam a little more freedom.
(from left) Liam, Max (Patton Oswalt) and Duke (Eric Stonestreet) in Illumination’s “The Secret Life of Pets 2,” directed by Chris Renaud.
Meanwhile, while her owner is away, plucky Pomeranian Gidget (Jenny Slate) tries to rescue Max’s favorite toy from a cat-packed apartment with a little help from her feline friend, Chloe (Lake Bell), who has discovered the joys of catnip.
And crazy-but-cute bunny Snowball (Kevin Hart) gets delusions of grandeur that he’s an actual superhero after his owner Molly starts dressing him in superhero pajamas. But when Daisy (Tiffany Haddish), a fearless Shih Tzu, shows up to ask for Snowball’s help on a dangerous mission, he’ll have to summon the courage to become the hero he’s only been pretending to be.
Can Max, Snowball, Gidget and the rest of the gang find the inner courage to face their biggest fears?
THE SECRET LIFE OF PETS 2 is produced by Illumination founder and CEO Chris Meledandri and his longtime collaborator Janet Healy, the visionary team behind Dr. Seuss’ The Grinch and the Despicable Me and Minions franchise, and is written by returning Pets screenwriter Brian Lynch. The film is directed by returning filmmaker Chris Renaud, who also directed Illumination’s Despicable Me series and Dr. Seuss’ The Lorax. www.thesecretlifeofpets.com
Enter for your chance to win FOUR free passes to the St. Louis advance screening of THE SECRET LIFE OF PETS 2. The theatrical sneak preview will be on June 4 at 7pm.
Answer the following:
Name these breed of dogs
1.2.3.
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NO PURCHASE REQUIRED. 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.
Rated PG for some action and rude humor.
(from left) Rooster (Harrison Ford) and a turkey in Illumination’s “The Secret Life of Pets 2,” directed by Chris Renaud.(from left) Max (Patton Oswalt), Duke (Eric Stonestreet) and Liam in Illumination’s “The Secret Life of Pets 2,” directed by Chris Renaud.(from left) Snowball (Kevin Hart), Daisy (Tiffany Haddish) and Pops (Dana Carvey) in Illumination’s The Secret Life of Pets 2, directed by Chris Renaud.
“Toyland, Toyland…”I know, Christmas was seven weeks ago, but that doesn’t mean that we can’t have some fun at the multiplex with some of our favorite playtime pals. The studios have been raiding the toy chest in search of film franchises for decades, from Raggedy Ann and Andy (originally a cartoon short from the Fleischers) to the cult favorite CLUE in the 1980s (trivia question staple: it had three endings). Now with longtime movie series based on GI JOE and TRANSFORMERS, toys have become as much a source material as comic books and TV shows (which were the initial “springboards” in the 80s for Care Bears, Strawberry Shortcake, and countless others). But could these product-spawned flicks actually be witty and (gasp) satirical, even entertaining to adults? Pixar certainly tested the waters with their first hit feature back in 1995 TOY STORY (which included kid superstars like Mr. Potato Head and Barbie alongside original characters). Jump ahead 20 years and some great comedy talents garnered big laughs from lil’ plastic building blocks. It was a surprise smash, so after two spin-offs, we’re finally getting a true sequel with THE LEGO MOVIE 2: THE SECOND PART (just be careful where you step…yeooowch).
Yes, it’s five years later and all seems to be going great for Emmet Brickowski (voice of Chris Pratt) and pals in Bricksburg. But then the destructive Duplo invaders from the Systar (?) System arrive. Despite the efforts of Lucy Wyldstyle (Elizabeth Banks) and her ex, Batman (Will Arnett) the town is transformed into the dusty dirty “heck-scape” of Apocalyseburg. Emmitt’s still his cheery ole’ self until another Systar denizen named Captain Mayhem (Stephanie Beatriz) cruises in to scoop up Lucy, Batman, Unikitty, Benny, and Metalbeard in her spaceship and whisks them away to meet her boss, Queen Watevra Wa’Nabi (Tiffany Haddish). Luckily Emmett is able to turn his dream cottage into his own star cruiser and blasts off to infinity and…no, wrong toy. When his star trek proves too deadly, Brick is rescued by a true galactic good guy, Rex Dangervest, the coolest cat in the cosmos (trained raptors fly his ship). The two team up to stop the destruction of the universe (the “our-mom-ageddon” which would banish them to the limbo region of “Stor-age”) which will be triggered by the swiftly approaching marriage of the Queen and Batman. But are the residents of Systar “un-evil”? And will Lucy finally come to terms with her “sparkly” former life? Most puzzling of all, why is the Dark Knight finally ready to “settle down”? Gosh, what’ll happen to Alfred?
The good news is that the intricate colorful designs and character work are still there, despite the changing of directors, from the team of Phil Lord and Christopher Miller (who still contributed this script with a story assist from Matthew Fogel) to Mike (TROLLS) Mitchell. Because of the returning writing duo, there are still a lot of funny throwaway bits of dialogue (especially the subtitling of the raptors) along with some very sly pop culture gags (“Marvel’s not returning our calls”). And Emmett is still a wide-eyed (big dots really) cheerfull oblivious goof. So why does the film feel…off? For one thing, the Lego world seems a lot smaller. The first adventure involved a near-endless gathering of pop icons from Star Wars to the classic Universal monsters (guessing the licensing contracts took up several file cabinets if they’re still a “thing”). But now, aside from a roll call of time-traveling devices, we’re limited to the Warner home team (though that still includes the DC heroes, the Wizard of Oz, and a Tolkien spellcaster). Perhaps this is because the real world intrudes into the main story too too much. Yes, last time we got a Will Ferrell finale, while this time his home pops up throughout and stops the story flow in its tracks. Luckily another SNL vet cameos as Will’s wife, and earns a few decent laughs, but do we need to see toys lost and gathering dust in multiple sequences? The stakes are raised by other planet’s threats, but it’s not as interesting a “hero’s journey” as in the original. Emmett and Lucy from that get plenty of screen time in this sequel, while their buddies Unikitty and Benny have little to do, as does Batman (maybe because of his solo spin-off) who is easily manipulated, though as a result of one of the film’s best musical numbers, “Gotham Guys” (much better than the “Awesome” wannabee “Catchy Song”). The rampaging Duplos who speak like toddlers is amusing, but most of the new characters barely register, aside from the Queen. Haddish brings a lot of energy to her which matches her ever-changing red, orange, and magenta form (within seconds she’s a horse, a flower, and crazy chart). Rex is a lot of fun, but his “big reveal” doesn’t really go anywhere. Though just over 100 minutes, this film feels well over 2 hours as the jumbled third act finally grinds the story to a cluttered messy halt. Though this contains many of the first flick’s winking wit, families may find that THE LEGO MOVIE 2: THE SECOND PART just feels “played out”.
Trying to get back on her feet, wild child Tanya (Tiffany Haddish) looks to her buttoned-up, by the book sister Danica (Tika Sumpter) to help her get back on track. As these polar opposites collide — with hilarious and sometimes disastrous results — Tanya discovers that Danica’s picture-perfect life — including her mysterious boyfriend — may not be what it seems.
From Director Tyler Perry, watch the red-band trailer now for NOBODY’S
In 2016, Perry reprised the role of “Madea” in Lionsgate’s smash-hit BOO! A MADEA HALLOWEEN, which spent two weeks at number one on the US box office. The sequel to the film was released in October 2017 and took top spot at the box office on opening weekend. Perry has two more films with Lionsgate in 2018 – ACRIMONY starring Taraji P. Henson and A MADEA FAMILY FUNERAL, which will bring his popular character back to the big screen. Perry also recently completed production on Adam McKay’s feature film, VICE, about Dick Cheney, in which he will play “Colin Powell.”
The cast includes Tiffany Haddish, Tika Sumpter, Omari Hardwick, Mehcad Brooks, Amber Riley and Whoopi Goldberg.
NOBODY’S FOOL is in theatres November 2, 2018.
(L-R) Tika Sumpter, Whoopi Goldberg and Tiffany Haddish in Nobody’s Fool from PARAMOUNT PICTURES, PARAMOUNT PLAYERS, TYLER PERRY STUDIOS and BET FILMS.
As October hurtles past the midway point, many folks are experiencing a feeling of dread, one that’s not from worrying over having enough candy for the trick-or-treaters or if your party costume is too scary or sexy (or not enough of either). Nope, it’s because the really frightening events are happening just weeks later. Yes, it’s Thanksgiving, the first of the two big year-end family get-togethers, a day to revel in homecomings and making memories as you pass the stuffing and cranberry sauce (drat, almost left it in the fridge again). But for some of us, it can be an endurance test as old wounds are re-opened (and often liberally salted). One source of heated conversations post meals and pre-football is the political scene. Mom may try and nix that talk, but it settles in like indigestion. With the dining room simmering and smoldering with tension, what would happen if the government, as the old expression goes, decided to toss gasoline on the fire? That’s the premise of a new flick that doesn’t feel that far removed from the current climate. In this story the day after the feast is not focused on shopping, but rather on the final day of THE OATH.
So, what is this source of controversy? The “Patriot’s Oath” is merely a single sentence: “I pledge my loyalty to the president and my country, and vow to defend them from enemies, both foreign and domestic”. You caught the word “loyalty”, right? Just four words in, so it’s definitely a “loyalty oath”. That’s what really disturbs thirty-something middle married middle-class couple (and parents of adorable daughter Hardy) Chris (Ike Barinholtz) and Kai (Tiffany Haddish). Actually, they’re horrified at this event, and despite the press secretary’s assurance of a “tax break” for those who sign, the two believe that all will come to their senses long before the “signing” deadline that’s months away, on “Black Friday”, the day after Thanksgiving. Flash forward to Thanksgiving Eve Eve. The Oath deadline is still happening, and now it has its own squad of “enforcers”, a subset of Homeland Security called the “Citizens Protection Unit”, whose main “goal” is to make sure nobody is prevented from signing up by Friday. But Chris has more immediate concerns as he closes up the office of his “citizens’ action” bureau. His family, parents, and siblings, will be converging on their home for the big feast. Chris’s mom Eleanor (Nora Dunn) and dad Hank (Chris Ellis), are a bit stodgy, but more middle of the road, hoping to keep politics off the Dinner table. Oh oh, there’s brother Pat (Jon Barinholtz), a fervent ultra-right-winger, who sees nothing at all wrong with the Oath. And he brings along his current girlfriend Abbie (Meredith Hagner), who’s even further to the right, boasting of how she likes to “stir up s#*t” on the internet. But luckily there’s the mellow sister Alice (Carrie Brownstein) who shares some “herbal relaxers” with Chris while her hubby (Jay Duplass) rides out a nasty stomach bug in one of the guest bedrooms (and bathrooms). On the street and at a restaurant they witness the rising tensions that lead to altercations, as reports of CPU crackdowns fill the cable news channels. On the big “turkey day” tempers explode when an iconic Civil Rights senator is hauled away in shackles. The big meal is a big bust. But things go from bad to even worse the next day, when Chris returns home from an errand to find two CPU officers, Peter (John Cho) and Mason (Billy Magnussen), waiting for him in his den. Turns out that Pat let them in (“They’re just like cops, right?”). Peter says that they got an anonymous call that Chris was keeping someone from signing the Oath. If Chris will just take a drive with them, Peter’s certain they can “work things out”. Ah, but the spirit of those radical 1960’s is strong in Chris. And thus begins a long and truly bleak, black Friday.
In most films, we could easily point to Ike Barinholtz’s Chris as the “hero” of the story. Protective of his family and his ideals, Chris should be the “voice of reason” for the audience, but Ike makes him complex. Sure, he’s in the “right” most of the time, but he can also be arrogant and self-righteous to the point of aggravation and annoyance. When the “stuff” hits the fan, he’s “flailing about’ mentally and physically, a “smart” guy that’s just as dumb as those he denigrates. Happily, Ike has a great chemistry with Haddish who breaks away from her “party-gal” persona she created with her stand-up comedy and breakout role in GIRLS TRIP. Her Kai is an equal partner to Ike’s Chris, but more, she’s his moral compass and grounding force. Though she may agree with Chris, Kai will not let his stubborn streak endanger the life they have made. The two are a most believable team, particularly in the opening flashback that’s playfully sexy. The other Barinholtz, Jon as brother Pat, matches Chris for pure belligerence, plus an entitled “frat-boy” attitude. And he’s got the perfect mate in Hagner’s Abbie, whose hair-trigger (she goes into a blind rage each time Chris forgets her name) acerbates any minor altercation into a major “throw down”. Abbie is a sneering harpy for the new century. At the other end of the spectrum is Brownstein as the reasoning, calming “Earth mother” whose cool demeanor finally crumbles from dealing with both Pat and Chris. And then there are the two “interlopers” brought into the “safe space” for the suspense-filled second act. Causing more of a conundrum are the two distant personalities of the duo, a riff on the classic “good cop/bad cop”. Cho’s Peter is a new-age “Joe Friday”, there to do his job with the most professionalism. He can assess the “feel” of the room, and will not allow himself to take any of Chris’s insults personally. Cho plays him as the “caring counselor really wanting to help. Then there’s Mason, played with “off-kilter” menace by Magnussen. He’s the “wild card” who seems to be hoping for an altercation in order to finally get his hands “dirty”. As Peter tries to mediate, Mason is seething, his teeth grinding under his perfectly-trimmed ‘stache, ready to abuse and enforce. All the while, the heads of the family, played with numbed bewilderment by Dunn and Ellis, fretfully try to restore the peace. Mom and Pop are pretty powerless in this suburban “powderkeg”.
This is the feature film directing debut for Ike Barinholtz after helming episodes of TV’s “The Mindy Project”, and it’s his second feature script after CENTRAL INTELLIGENCE along with writing for “Mindy” and “MADtv”. That sketch comedy background has served him well, as he’s come up with a bit of satire that pushes reality ever so slightly. In interviews, he’s said that the idea came to him after the last big election, but the film doesn’t come off as a lecturing screed, more as an “off the wall” “what if” combined with “Griswald-like” comedy chaos and conflict. This “else-world” Ike has fashioned feels not far removed, even with its street “flare-ups’ and awkward TV press conferences. The set-up is clever, but the big “pay off” is often too coarse and clumsy. T-day’s feast is quickly mired in a torrent of “f-bombs” (really, two minutes of “F you” “No, f you” and so on) and screaming through clenched teeth over the yams and peas. With the violence and blood, the CPU showdown may be the reason that many (mostly the marketing folks) are comparing this to the politically-inspired horrors of THE PURGE and GET OUT (not in the same cosmos really), but it never maintains any momentum, stopping and starting, till everything is wrapped up far too neatly with a tidy, convenient bow before the end credits. Ike’s idea might have made for an engaging extra-long TV skit or even an hour-long comedy special, but THE OATH turns into an exhausting, irritating 93-minute mess. This I swear (but not as much as the cast).
September, the month when many movie-goers return to school, is generally not prime release time for a big, raucous, “down ‘n’ dirty” (well, not too since this is PG-13, barely) comedy starring one of the most popular film “funnymen”, Kevin Hart. Aha, but what if the new movie comedy’s premise is his return to school. This could be inspired marketing timing. Speaking of timing, the very prolific Hart, who seemed to be in a new flick every five or six weeks, appears to be pacing himself, perhaps following his own marketing strategy. Aside from his Summer TV game show “TKO”, we’ve not seen him at the multiplex in over nine months, when Hart was part of the ensemble cast that made the reboot adventure JUMANJI: WELCOME TO THE JUNGLE a surprise holiday hit. As with that smash, Hart is not alone this time out. Many of his biggest successes have been team-ups, from Ice Cube in the RIDE ALONG franchise to Dwayne Johnson (previous to J:WTTJ) in CENTRAL INTELLIGENCE, though the Will Ferrell pairing in GET HARD fizzled. For this new romp, Hart is paired with a lady, a very funny lady. Tiffany Haddish is still Hollywood’s reigning comic “it” girl after her breakout role last year in GIRL’S NIGHT, for which she picked up a few nominations and a couple of awards. Since then she was under-utilized in the dreary TV ad-inspired UNCLE DREW as a gold-digging girlfriend this past Summer. Can her equal billing with Hart cement her “rep” as a movie comedy queen? More importantly, will this new pairing produce laughs and perhaps a few “sparks”? We should learn more when film fans enroll in their NIGHT SCHOOL.
But before night school, the story takes us back to high school in Atlanta circa 2001. Near the end of his senior year, the usually affable Teddy (Hart) is stressed about those college placement tests. On the big day, despite the encouragement of his BFF Marvin (Ben Schwartz), Teddy is overwhelmed. The numbers and figures leap from the page, and buzz about his head like pesky gnats. Angry and frustrated, Teddy leaps up and declares that the test, and all of high school, is for losers and “sheep”, as his nemesis Stewart (Taran Killam) gloats. Why, he’ll have a hot car and equally hot girlfriend despite dropping out, which he states as he leaves the gymnasium. Cut to today, and Teddy is indeed driving his gorgeous girlfriend, aspiring designer Lisa (Megalyn Echkunwoke) to her job in his fancy sports car. As for his job, Teddy is the star salesman at an upscale outdoor grill shop. Though he’s the darling of his boss (the walls are filled with his “salesman of the year” photos), Marvin, who’s an advisor at a big investment firm, tells Teddy that he’s dangerously “over-extended”. Of course, the fates bring Teddy down to Earth when the grill shop implodes (literally). No “prob”, Teddy can grab a spot at Marvin’s place. Ah, but they require a GED. Surely Teddy can run down to his old school and charm the principal into giving him the proper bookwork. But who’s in charge of Piedmont High, now? It’s Stewart, who is eager to show him the door. Teddy inquires about attending night school, but Stewart happily explains that they offer no such option. But one of the teachers, the “no BS” Carrie (Haddish) hears this and explains that there is an open spot in her night class (this despite being part of a “road rage” encounter with Teddy earlier that morning). Soon Teddy is part of the wacky group of misfits in Carries’ night “GED prep” class. But can he make it without those digits dancing around his head once more? More importantly, can he keep his after-hours activity a secret from Lisa, who thinks he’s already an investment advisor? For once, all of Teddy’s charm and hustle may not be enough.
Though the role of Teddy is similar to many of his previous screen characters, Hart brings his near boundless energy once more as the story’s main focus. Of course, he’s got that inflated ego and motor-mouthed delivery to back up his empty-headed swagger, but we’re given a different aspect to the comic protagonist. Teddy’s saddled with challenges from real-life learning disabilities that make the often silly hero much more “human”. It’s a short time though before he’s doing the bodily function gags. Haddish has much of the same manic energy, particularly in her wild duel of put-downs with Hart in their initial meeting. Later, in her workspace, Haddish’s Carrie is a near unstoppable force of lightning-fast sass, cutting through all the ‘crapola”, be it from her students or boss. Said boss is the smarmy, entertaining Killam, who tries to emulate Morgan Freeman as Joe Clark in LEAN ON ME, using a baseball bat to project a funny phony street-wise demeanor. Happily, they share the laughs with many comedy veterans. Several comprise the main night class which has two great ex-“Daily Show” cut-ups. The “in your face” Rob Riggle is a blustery good-hearted doofus as “Big” Mac, while Al Madrigal is the scheming, seething (from his own history with Teddy), very ambitious Louis. Mary Lynn Rajskub (best known from TV’s “24”) grabs big laughs as the repressed, buttoned-up Theresa, a housewife (and longtime mother), eager to fly free as she repeats her mantra “I’m so blessed”. She plays well off of Romany Malco terrific take on the ole’ crazed conspiracy nut, who distrusts all tech. Keith Davis shines in a couple scenes as Teddy’s annoyed, sour poppa. Unfortunately, the very zany comic actor Schwartz (forever Jean-Ralphio on TV’s “Parks and Recreations”) is given little to do aside from being Teddy’s “Jiminy Cricket” and cheerleader. C’mon, this guy is a riot.
Director Malcolm D. Lee proves that he can keep a wacky comedy on track as well as he has put together his big ensemble “dramedies” like his BEST MAN franchise. His biggest challenge is finding the right tone for the often unwieldy script (credited to Hart and five others). It lurches from wild cartoony slapstick (at least Peter Seller’s Clouseau would need a band-aid, while Teddy and Mac should be “mummies” in traction) to compassionate and inspiring (Teddy’s gonna’ tame that darned Dyslexia). Speaking of the latter, should Carrie be using FIGHT CLUB tactics on Teddy after his diagnosis? Seems kinda’ mean-spirited. Plus characters are introduced to challenge Teddy (Lisa’s best pal Maya and Teddy’s sister Denise) disappear almost completely after the 20-minute mark (perhaps casualties of the many scripters). Speaking of MIA characters, what of Haddish as Carrie, who is gone for multiple chunks of time, absent so often you’d think she was hosting the Oscars? The marketers are selling this as a Hart/Haddish comedy (they’re the only ones on the main poster), but Teddy and Carrie (aside from the opening street showdown) never get truly personal. Her Carrie barely exists outside of the Piedmont High. Those fans hoping to see sparks stemming from some on-screen chemistry will feel a tad cheated. Aside from the good “never too late to be educated’ message, the flick just wallows in really vulgar bits ( Teddy and the dessert fork, Theresa’s “backdoor” musings), that would be more at home in an “R-rated” flick (now, now MPAA). Hart fans will get their laughs, but for those of us looking for a great new comedy pairing, well NIGHT SCHOOL doesn’t earn a passing grade.
So, this Summer a popular kids’ game has made it to the big screen: TAG, though the R-rated comedy isn’t for the smaller set. Well, why not release a flick about a real sport, one that the kiddos love, say basketball? Yes, it’s the subject of comedies and dramas, from HOOSIERS to WHITE MEN CAN”T JUMP to SEMI-PRO. But here’s something that sets this new flick apart. It’s a big screen adaptation, but not from a comic strip, comic book, novel, or TV show. Hmmm, it does have its roots on the tube, though it’s an expansion of a popular commercial campaign. Kind of like that 90’s cult classic, SPACE JAM. We’re not talking shoes this time, the ads (that date back six years) hawked a soft drink, Pepsi Max. Sure those spots are fun, but will movie audiences want to spend more than 60 seconds (103 minutes to be precise) watching the “slam-dunk” wizardry of UNCLE DREW?
The film’s first few minutes open with the history of the title character in a faux “30 by 30” ESPN mini-doc with lots of famous talking heads recalling his exploits, which led to the controversial first Rucker Classic street ball tournament fifty years ago. Jump (shot) to today as the big 2018 Ruckers celebration edition nears. we meet Dax (Lil Rrl Howery), who has loved the game all his life (though he says the game hasn’t loved him back). He’s sunk his meager life savings, amassed working at the local mall’s Foot Locker, into coaching a team to win the big 100 grand prize money. There’s lots of pressure, particularly form Dax’s “material” girlfriend Jess (Tiffany Haddish), who has big plans for the cash. As does Dax’s rival, Mookie (Nick Kroll), who plots to coach his own winning team. His true colors are revealed when he poaches Dax’s team. Desperate to recruit new players, Dax learns of the legend of Uncle Drew. Dax soon finds out the legend is no tall tale when he witnesses the geriatric hustler (Kyrie Irving) take down a boastful, much younger player. After the pick-up game Dax pleads with Drew to be part of his team. Drew agrees, with the stipulation that he fills the roster with his old crew. Thus begins the quest, as Drew and Dax travel the country in an old beaten-up van. First up, there’s “Preacher” (Chris Webber), now a real pastor who’s under the thumb of wife Betty Lou (Lisa Leslie). In an assisted living facility they pick up visually-impaired “Lights” (Reggie Miller) and wheelchair-bound “Boots” (Nate Robinson), along with his lovely granddaughter Maya (Erica Ash). The real challenge is convincing “Big Fella” ( Shaquille O’Neal) to leave his martial arts school and set aside old grudges. Even with his old squad, can Uncle Drew bring victory to the underdog Dax, and maybe reignite his old passion for the game?
Mr. Howery is a talented, funny fellow, we know that from his scene-stealing supporting turn in GET OUT. Unfortunately his lead (though not in the title) role is not nearly as interesting as the TSA BFF. Dax is far too needy and “whiny”, a doormat for everyone, and later a straight man for Drew and crew. You deserve much better material Mr. H, though you commit with lots of manic energy. In the same vein, this is a bit of a letdown after Ms. Haddish’s break-out work in last Summer’s GIRLS TRIP. Jess is a one-note “gold-digger” who exists only to give Dax more “agita” and anxiety. She works hard, but the script fails her, making her repeat “Remember ‘dat?” almost like a mantra in the final end credit farewell. Things don’t go much better for the film’s “good girl” Maya, a constricting “straight” sister that never allows Ms. Ash a chance to cut loose (a shame since she’s a “MadTV” vet). Kroll is able to wring some laughs as the obnoxious villain, but the playground taunts and teases seem a waste of his considerable comic skills, now on great display in the Netflix version of his hit Broadway show “Oh, Hello” (not to mention his terrific recent dramatic turn in LOVING). Mookie’s really a flashy baboon (and buffoon). As for the “hoops stars” none of them really seem destined for future screen stardom (that includes movie vet Shaq), though Webber has some high-spirited fun as the bouncing “baby-baptizing” holy man.
The tepid script from Jay Longino is barely given any energy from director Charles Stone III, though they may have been too obligated to replicate the format of the commercials (and yes, Pepsi is one of the producers making certain there are lots of “product placement”). Gags that worked so well in the classic COCOON are hammered and milked to exhaustion. We’re well aware that these young guys are capable of amazing court prowess. In part, that’s due to the ludicrous “old age” makeup. I can imagine how the late great makeup genius Dick Smith (LITTLE BIG MAN) would’ve reacted to the clumsy grey wigs and crude drawn wrinkle lines. And we get the “senior citizen” cliches repeated over and over. No matter the outside temps, Drew must crank up the heater. And they have to “go” all the time. Hysterical! Perhaps that’s a way to stretch the road trip (including a useless dance club challenge) before the “big final game”. Even that’s hampered by a cloying attempt at pathos (talking to a headstone at a cemetery…really). Hard core hoops fans may enjoy the “trash talk” and sweet “no net” scores. For the rest of us, well, here’s hoping that UNCLE DREW hangs up that smelly old track suit for good. Hit the showers!
