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PITCH PERFECT 3 – Review

This month we’ve been talking about the middle of a trilogy while another trilogy finishing up hasn’t been getting a whole lot of attention, perhaps because it’s a rarity among trilogies in that it’s not a block buster action one or in the horror genre. It’s a comedy. But three’s not been the magic number for THE HANGOVER or MEET THE PARENTS (which came to a most unfunny conclusion with MEET THE FOCKERS). Perhaps the quality that makes this trilogy even more unique will be its saving grace. You see it’s a musical comedy, well really a comedy set in the world of music. Acapella harmony competitions. Back in 2012 the producers of this under-marketed low-budget flick probably never thought that it would spawn two follow-ups. But here we are, over five years later, as the ladies warm up their pipes for PITCH PERFECT 3. And to spin a cinema twist on an old familiar phrase, the franchise aint’ over till the Fat Amy sings (and just a reminder you, the character embraces that moniker).

So the original “Bellas” are out in the real world, and it’s not very melodic out there for them. As a matter of fact, on this particular day, Beca (Anna Kendrick) loses her job at a big music agency (one too many dopey divas). Her roommate, the unemployed (and unemployable) Amy (Rebel Wilson) fails to cheer her up. Luckily her other ‘roomie’ Aubrey (Anna camp) has great news: the current Barden Bellas want the old gang to reunite for a show down at the Brooklyn Aquarium. The gals arrive in their old stewardess-style stage outfits, but the new Bella group leader Emily (Hailee Steinfeld) tells them that it’s a non-singing appearance. Beca and his pals look on with sadness as Emily’s new troupe wows the crowd. Later, over drinks, Aubrey has great news. Her father, a big military honcho, has invited them to be part of a big USO tour of Europe. And of course it’s also a big competition. Rap superstar (I’ll take their word for it) DJ Khaled (himself) is fronting the event and will choose one of the four acts involved to be his world tour openers. Stacie (Alexis Knapp) must bow out for …ahem…personal reasons, so Emily takes a break from college to join her old sisters. But things aren’t going to be easy for them. They’ve gotta’ out sing a male country/western band, a hot hip-hop duo. and, their fiercest rivals, a hard-rockin’ female quartet named “Evermoist” (really). On the road overseas Chloe (Britanny Snow) falls hard for their hunky military liaison, as does the shy Lilly (Hana Mae Lee) for one of the rappers. Beca flirts with Khaled’s smooth aide, as two other Bellas deal with daddy issues. Aubrey’s father seems uninterested to seeing her sing, while Amy runs into the father that left her many years ago, the charming grifter Fergus (John Lithgow). And it’s all be recorded by that smarmy duo Gail (Elizabeth Banks) and John (John Michael Higgins) who are shooting a “whatever happened to” documentary about the women. So will the Bellas triumph or will their dreams of music superstardom fall flat? Or maybe sharp. Or just “pitch-y’.

Unlike the two previous entries which tried to divvy up the screen time between the Bellas, this supposed final installment really zeroes in on the group’s version of “the odd couple”. I’m speaking first of Kendrick as the smart, focused Beca who’s almost the kid sister of Jason Bateman (in his usual TV and film roles) in that she’s at her best tossing out droll, deadpan retorts to the zany antics going on all around her. That’s not to say she doesn’t get in on all the silly stuff, but there’s an accessible intelligence that propels her scathing wit. Plus Beca’s a real music savant, turning junk into melodic gold. The other half of “the couple” is comedy cyclone Wilson, the human “party animal” with no filter. There’s an energetic joy to Wilson’s performance as she wrecks havoc at nearly every swanky shindig she crashes. This time she gets to show a bit more of her vulnerable side, usually obscured by this whirling dervish, as she tries to deal with her mixed feelings over her newly resurfaced papa. But then the cartoon slapstick sets in as she defies physics in some ludicrous action set pieces.Luckily Wilson is able to deliver on all levels. Speaking of pop, Lithgow is almost doing an “evil twin” of his recent role in DADDY’S HOME 2 as he tries to repair old broken bridges with daughter Amy. Despite his tender pleading, he lets us know that Fergus will show his true colors eventually.

The film really seems at odds with itself, hoping to surprise while making sure it repeats bits from earlier efforts. It opens with a big musical number that suddenly switches into an action film cliché, becoming more Bond or Bourne than Bellas (running from a fireball….hmmm okay) . And while the other two flicks had entertaining “rom com”-style subplots for Beca and Amy, this one dismisses Jesse (Skylar Astin) and Bumper (Adam Devine) with a couple of “tossed off” lines of dialogue in the first ten minutes or so. As for “call-backs” (or the musical “reprise”), another “song improv battle” or “riff off” with their USO rivals quickly becomes tired and tedious. Plus the choreography has become so intricate it’s hard to believe that they can stay on pitch, let alone remember the lyrics, during these mathematically plotted moves. That action final act seems contrived to keep us from drifting off, while the last big number wraps up everything too neat and tidy. The Bellas have had an impressive cinematic concert, but with this scattershot sequel they’re more than ready to take a final bow. More “tepid applause” than “encore” or “bravo”.

2 Out of 5

DESPICABLE ME 3 – Review

So the CARS crew has barely finished a third lap and now another animated franchise is about to join them (or are they in their forth lap?). In 2010 Universal Studios teamed up with a plucky young computer animation company named Illumination to ride the box office tidal wave begun by the folks at Pixar. Their first smash was DESPICABLE ME, a raucous action comedy about an infamous super-villain mellowed when he becomes the foster-father to a trio of orphaned girls. Audiences embraced the title character of Dru and went bananas (that’s what they resemble, after all) over his horde of henchman, the yellow, yammering (nobody knows what their language is) minions. A sequel, DESPICABLE ME 3, followed of course, in 2013 in which Dru got a wife (and the girls got a mom), a super secret agent for good named Lucy. Then in 2015, came a “spin-off prequel” MINIONS, all about the origins of those adorable tablet-shaped terrors. Now, after two big hits last year (THE SECRET LIFE OF PETS and SING), Illumination and Universal deliver what some of the talent are calling the final chapter of the trilogy, DESPICABLE ME 3 (only theatre ticket sales will tell…).

As the film begins, we’re introduced to a new “super mastermind”, Balthazar Bratt (voice of Trey Parker). He’s a former child actor, star of the massive 80’s TV ratings smash “Evil Bratt”. BB was living on top of the world until puberty hit him like a freight train full of tie-in merchandise (his face exploded with acne and upper-lip hair as his voice broke), and his show was canceled. Hungry for revenge, BB sets his sights on stealing a massive jewel from an ocean liner. Luckily two of the top AVL (Anti-Villain League) agents Dru (Steve Carell) and Lucy (Kristen Wiig) are on the case. During the wild fracas, the jewel is retrieved, but Bratt escapes. Later, at a big AVL meeting, new director Valerie da Vinci (Jenny Slate) fires the couple. Returning home, they try to put on a brave face for the girls, Margo (Miranda Cosgrove), Edith (Dana Gaier) and Agnes (Nev Scharrel). The minions, however, are finally fed up with Dru’s “good guy” ways and leave their lair (one duo remains loyal) on a journey that eventually lands them in the slammer. The next morning an odd ole’ duffer delivers a message: Gru’s twin brother Dru is footing the bill for a reunion trip to Freedonia (?). After a quick visit to his mum (Julie Andrews), who admits that he has a twin, Gru, Lucy, and the girls board a private jet that takes them right to the opulent estate of pig magnate Dru (Carell again). But he’s got a scheme. Seems that BB did succeed in grabbing the big jewel. Dru wants that rock and needs Gru to share his super villain skills. Now, that he’s no longer an AVL agent, will Gru return to his old ways and jump back to the other side of the law?

The two comedy kingpins at the center of this franchise are in fine, funny voice once more. Carell has perfected this odd “where is he from, Eastern Europe?” accent, giving Dru the same, slightly less confident lilt, and knows when to go in for the “kill”, delivering a scathing put-down or a painful “burn”. But he’s also capable of great warmth and tenderness, particularly when dealing with his “gurrls” and connecting with his wife. Wiig is all perky efficiency as the focused lady agent, but fumbles and stumbles as she tries to switch gears into nurturing parent mode. The best new addition is toon voice vet Parker as the sneering Bratt, as obsessed with his perfect 80’s high-top hair style as he is with his plans for world destruction (“Tinseltown” goes down first, of course). Andrews is very funny in her quick cameos and the kids are still endearing, with Cosgrove adept as the “mature beyond her years” voice of reason. Unfortunately the incredibly talented Ms. Slate is given little to do as the one-note, high-heeled shrew that sets the plot’s wheels in motion.

Yes, the plot, well the entire script, is truly the downfall of this installment. Perhaps it was thought that separating Gru from nearly all of the minions (whose “baby-talk” gibberish is starting to wear thin) would simplify the story, but their escapades seems too close to their last solo flick, though a TV talent show rendition of a Gilbert and Sullivan standard injects some much-needed energy to the flick (shame it’s just a couple of minutes). Bratt is a fun bad guy (a vast improvement over El Macho in number 2) with lots of wacky nods to campy fads of the 1980’s, but he leaves the film for almost 30 minutes (like a host at the Oscars). While the double dose of Gru and Dru elicits a few laughs (mostly concerning Dru’s lush, “TV shampoo ad” hair), the other subplots go nowhere (Lucy desperately trying to bond with the kids, Margo’s determined young local suitor, and the unicorn quest led by Agnes). And really, how can you set part of it in Freedonia and not have a couple of winks to that 30’s classic (a statue of Rufus T Firefly in the town square, or at least a “soup of the day” diner gag)? The colors pop, the character design is still engaging (would love an actual “Evil Bratt” figure) and the animation is slick and smooth (the high-tech jump-suits are a blast). It’s a real shame that the pacing is so off, making the film feel much longer than 90 minutes. Perhaps more slapstick and fewer attempts at pathos would have helped. Either way, for DESPICABLE ME 3, the third time’s not the charm. Now shoo, Gru!

2 Out of 5

A DOG’S PURPOSE – Review

Excuse the pun, but Hollywood has gone to the dogs. And it’s not the first time. Man’s (and the movies’) best friend has been the hero and heroine of many a flick since the old nickleodeon days. The first canine superstar was probably Rin-Tin-tin way back in the silent era. He was a German Shepherd who rescued human co-stars and even a soon to be major studio (the Warner Brothers might not have survived without his box office bucks). Then came Lassie in her many media incarnations, along with other dogs that provided comic relief from Nick and Nora’s terrier Asta to that Saint Bernard behemoth, Beethoven. With the advent of social media there’s been an avalanche of pet adoration, with funny home videos of dogs taking a big bite out of the bandwidth. This helped fuel last summer’s animated smash THE SECRET LIFE OF PETS (primarily dogs, with a few kitties, birdies, and an ill-tempered bunny). Now comes this (mostly) live action ode. But it attempts more than just silly slapstick and tugs at the ole’ heartstrings. This movie ponders the whys and wonders of A DOG’S PURPOSE.

Or should the title be plural, since several dogs share the same spirit, given voice by Josh Gad (yes, Olaf from FROZEN). First he’s an unnamed wondering puppy, quickly scooped up by the city’s Animal Control (and happily sent to that “farm up north” off camera). Then we get to the main story as that life force jumps into a Red Retriever pup that is taken in by eight year-old Ethan (Bryce Gheisar) and named Buddy. The two become inseparable even as Ethan’s parents slowly drift apart. That bond is still strong as Ethan matures into a high school football star (now played by K.J. Apa) who hopes for a scholarship while starting a romance with Hannah (Britt Robertson). Things don’t go as planned while Buddy begins to feel the effects of old age, and soon that chatty spirit goes traveling, finally returning as a German Shepherd lady (!) named Ellie. She’s put to work almost immediately, training to be a police dog, taught by her owner/partner, a lonely cop named Carlos (John Ortiz). Their strong bond is soon cut short by the mean streets of Chicago. Then it’s puppy time again, this time as a cute Corgi named Tio, who’s adopted by a shy college student, Maya (Kirby Howell-Baptiste). The two bond over a mutual love of junk food, which leads to long walks in the park (the vet prescribes lots of exercise) where they meet another college student Al (Pooch Hall). Tio’s along for the romance with Al and his jumbo-sized lady dog, watching as their owners marry and have kids, until time passes by. Boom, another host, this time a big mixed breed mutt neglected and abandoned by a disreputable couple. The dog’s lost, but the sights and sounds seem vaguely familiar. He recognizes Hannah’s scent at a playground and soon stumbles upon the familiar farm now owned by middle-aged bachelor Ethan (Dennis Quaid). He names the dog Bailey, who returns to that playground and follows that smell to the grandmother of those kids in the park, Hannah (Peggy Lipton). Bailey soon embarks on a mission to reunite the high school sweethearts. Could the role of canine cupid be his real purpose?

The human actors in the cast do their level best not to be upstaged by the adorable and energetic canine actors, proving that W.C. Fields adage quite true (“Never work with animals or children”). The best known of the cast is probably the ever charming Dennis Quaid who utilizes his well-worn crinkly smile to great advantage as the good man who’s endured his share of bad breaks. We’re really rooting for him and hope he gets one last chance at love. That chance is epitomized by the dazzling, forever mod Lipton, an actress deserving of many more high-profile roles. Their younger counterparts are also very engaging. Robertson, a real rising star, embodies the ultimate wholesome “girl next door”. As for the “Ethans”, Apa is both tender and tough (defending his dysfunctional family), while Gheisher melts our hearts as he bonds with his best pal (and he’s got excellent taste in literature…faded 50’s issues of “Captain America: Commie Smasher”). Ortiz is quite compelling as the tough, emotionally wounded cop who finally begins to heal. Howell-Baptiste and Hall have believable chemistry as the young couple brought together by their pets. Kudos to Luke Kirby who brings a real bit a pathos to a part that could easily be a standard villain, that of Ethan’s dad who turns to booze when his dreams are crushed. Oh, and Gad is thankfully more cute and endearing rather than cloying or obnoxious as the “dog spirit”.

This story, credited to five (?!) writers too often wallows in sentimentality when it’s not trying to deliver laughs with sophomoric slapstick (dinner time calamity with the boss and his wife…who’ll go face down into the mashed potatoes?) and gross-out gags (butt-sniffing and doggie flatulence). The anthology structure really slows the story’s pace, as we wait for Gad’s voice to change bodies and meet new owners (it could almost be titled “Marley Can Wait” ala the Warren Beatty 70’s classic). Being a comic book fan, I was reminded of DC’s “Deadman” (hmmm, “Deaddog” would’ve been quite off-putting). Director Lasse Hallstrom gets some good performances out of all the cast, while making sure the dramatic moments aren’t too mawkish (hey, this is a step up from those Nicholas Sparks adaptations). Much like the recent MONSTER TRUCKS, this is a flick squarely aimed at kids, one that is more watchable than expected. And if adult animal lovers can get past the recent behind the scenes video scandal, they should have a pretty good time. Though it’s not great cinematic art, for those audiences, A DOG’S PURPOSE, for lack of a better word, fulfills its purpose.

3 Out of 5

ALMOST CHRISTMAS – Review

So, we’ve been seeing the slow trickle of “Oscar bait” serious films the last few weeks, as the big escapist blockbusters go into hibernation (yes, a few more will pop up with prequels to Star Wars and Harry Potter, and another Marvel superhero glided in last week). Well, what also arrives in the multiplex is the holiday family “dramadies” (laughs and lots of heart-tuggin’). And this is an early bird, not even waiting for December to gather a big cast under the sparkly tree. But hey, it only a couple of days earlier than last year’s lump of coal in your movie stocking, LOVE THE COOPERS. So think of that flick mixed with more than a touch of 2013’s THE BEST MAN HOLIDAY, and you’ll realize, even though you’ve not started cooking the turkey, it’s ALMOST CHRISTMAS.

During the opening titles we get a montage of many moments from “Christmas past”, going back to 1971, all in the life of Walter Meyers (Danny Glover), the owner of a chain of auto repair shops based in Birmingham, Alabama. His four children grow before our eyes as he enjoys the sweet potato pie lovingly made by his adored wife Grace. Sadly, just after last year’s festivities, the family matriarch passed away, leaving a lonely Walter pondering whether to sell the old house. But not before having one last five-day Christmas celebration, gathering all the kids now spread out across the country. Eldest daughter Cheryl (Kimberly Elise), a successful Chicago dentist flies in with hubby Lonnie (J.B. Smoove), a fast-talking former NBA star. Locally based son Christian (Romany Malco) drives in with his wife Sonya (Nicole Ari Parker), two kids, and campaign manager Brooks (John Michael Higgins). Seems Christian is running for office and can’t relax, despite Sonya’s pleading. Struggling single mother, Rachel (Gabrielle Union) takes some time off from law school to hop on a bus with her pre-teen daughter Niya (Nadej k Bailey). And then there’s Walter and Grace’s late in life son (a “happy accident”) Evan (Jessie Usher), a college basketball star hoping to make the big leagues if he can get past the effects of an on-court injury. But the first to arrive is Walter’s sister-in-law, the boisterous May (Mo’Nique), formerly a touring back-up singer (name a star and she’s worked with them), who is determined to help him with everything. Let’s see, Christian’s a workaholic, relations are strained (to say the least) between sisters Cheryl and Rachel, Lonnie’s got a “roving eye”, and Evan’s harboring a dark secret. With Walter (who’s determined to recreate the pie recipe from his late wife) and May’s efforts, will they be able to last under the same roof though Christmas morning?

Pretty big cast, eh? So, let’s begin will the film’s true “scene stealers”. We’ve not seen much of Mo’Nique on the big screen since her Oscar win, so her work as Aunt May (not that one!) is as close to 3D as a 2D flick can get. Her flamboyant energy bounces off every wall of the theatre. Whether she’s whipping up a strange, exotic buffet (does she think everyone will dig right in?) or spewing insults with the force of a gattling gun. Mo’Nique dominates the story (making us wish the film makers would cut back to her during some dull stretches). She’s complimented by and often squaring off with, the terrific Smoove (so wonderful on HBO’s “Curb Your Enthusiasm”) as the motor-mouthed con man Lonnie. He even gets to display his gangly grace in several slapstick scenes invoking another holiday icon Clark Griswald (especially as he tries to repair a faulty Santa decoration). But he’s at his best when Lonnie’s in full panic desperation mode in the film’s last act. Some smart producer should really pair up this two in a marriage comedy. The other stars don’t get as much of a chance to really shine.The gorgeous Union has played a variation of this hard-edged, hurt by romance character in countless “rom-coms” and TV films. She and Elise make good sparring partners, but Ms. E doesn’t have her big moment until a big last act reveal. Malco (hilarious in THE 40 YEAR OLD VIRGIN) is pretty much a straight man, particularly with Christopher Guest staple Higgins who’s an awkward laugh riot. Glover is world weary and exasperated (yes, he does his signature line). Usher injects some youthful energy, especially in the scenes with his full-of-swagger best bud Eric (DC Young Fly). Parker has little to do while Omar Epps is saddled with the cliché role of the now single neighbor, a high school crush of Union.

Writer/director David E. Talbert tries to keep the story moving despite feeling the need to slow things down for sequences that have become family flick staples (dancing to old pop tunes in the kitchen, the touch football game, etc.). The attempts at pathos and drama almost produce a whiplash effect when they abruptly follow or interrupt the comedy. It’s not enough that Walter’s a recent widower, he must have a connection to a local shelter which Christian’s political ambitions threaten. Too much time is lost to the pie subplot (I kept wondering if the recipe was hidden with the secret egg salad formula from the Woody Allen classic WHAT’S UP, TIGER LILY?), and a sharp turn into a substance abuse story nearly flips the film off its bearings. Plus some things just ring false particularly when lil’ Nya suddenly channels Dr. Phil and lays out all of mom Rachels’ emotional baggage. But the holiday sights and sounds are lovely enough to satisfy all the Christmas flick fans. And when Mo’Nique and J.B. Smoove are working their comedy magic, ALMOST CHRISTMAS goes down like a sweet cup of egg nog.

3 Out of 5

BRIDGET JONES’S BABY – Review

It’s cinema sequel time once more, film fans. Generally follow-ups pop up with great frequency during the Summer months, but this flick bends the release rules on many levels. For one thing, a dozen years have passed by since the last installment. Not quite the 20 years between Independence Days, but still rather lengthy. Two more things: it’s based on a book series that focuses on a female protagonist. No, it’s not from a YA (young adult) series, so get THE HUNGER GAMES and TWILIGHT, out of your heads, since this characters has several years on Bella and Katniss. Plus, this is not an action epic set in a dystopian future, rather the present day (although some elements do venture into fantasy). So in 2001 we delved into her diary, three years later she took us to the edge of reason, and now we get to meet BRIDGET JONES’S BABY.

As we catch up with Ms. Jones (Renee Zellweger), she’s all “by herself”, listening to the similarly titled pop standard, in her London flat celebrating her 43rd birthday. While blowing on the candle on her cupcake, she brings us up to speed on her life. She’s the stage manager/co-producer of a popular TV news show and best “mates” with the anchorwoman Miranda (Sarah Solemani). A few days ago Bridget attended a memorial service and ran into her ex-beau, famous barrister Marc Darcy (Colin Firth), who was there with his wife Camilla. Double bummer! But things are about to perk up. Since she couldn’t be with her on the big “B day”, Miranda is going to treat Bridget to a weekend at a big music festival where they will be “glamping” (glamorous camping in an already set-up rental tent). Oh, and there will be lots of drinking. So much so that Bridget wanders into the wrong tent. Or maybe the “rightest” tent since it is occupied by a hunky American named Jack (Patrick Dempsey), who she had met earlier in the day as she navigated the muddy grounds of the fair site. Things get chummy and …hours later a hung over Bridget scurries off to find Miranda, while Jack was out getting coffee. Back at work, Bridget must deal with her new bosses, a pack of millennials with no patience for “hard news”. And her “Mum” (Gemma Jones) is running for public office, testing the patience of Dad (Jim Broadbent) back in her home village. When Bridget agrees to be the godmother to Jude’s (Shirley Henderson) new baby, she’s surprised to see that the godfather is Marc, who is at the baptism without the wife. He explains that they have separated, the drinks flow, and….same deal. It’s an uneventful few weeks (Marc is back in the courts with a high-profile case) when she notices her clothes getting more than a tad tighter. Quick trip to chemist for a kit, and Bridget learns she is pregnant. Is the “baby daddy” old flame Marc Darcy or is it the holiday mystery man (Bridget and her “squad” discover that he’s Jack Quant, multi-millionaire creator of a popular dating website, so…that’s a plus!)? How can she tell them, and what will happen if she does? What’s a gal to do??!!

After a long hiatus from film, Zellweger re-affirms her star status by displaying her precise comic timing and a “go for it” spirit in the story’s many slapstick sequences. She delivers an energetic performance, while also never setting aside Bridget’s maturity and her fears (watch her as she hears the phrase “geriatric pregnancy”). This doesn’t inhibit the silly side of the role, with bits of funny business that would make Lucille Ball proud. Unfortunately her suitors don’t get nearly the chance to “cut loose”. Firth, for much of his screen time, is “one note” as Darcy who is written as a stodgy ole’ “fussbudget”, cringing at many of the wild antics of the cast. Happily, Darcy does get to fire off a rare withering retort filled with sarcasm, and you can see the joy in Firth’s eye in these too brief scenes. Then he’ll make a charming declaration of love, and any thoughts about Darcy having a “stick up his…” evaporate. The new guy at this party, Dempsey, is there mostly to provide conflict and melt the ladies’ hearts with his 1000 watt smile and five-o’clock shadow. Oh, and he gets to poke wholes in the uptight, overblown Darcy after Jack’s character does a complete 360 from his awkward live TV interview, after hearing of possible fatherhood. Dempsey also brings lots of energy, but this role won’t have his fans forgetting his “Dr. McDreamy” TV persona. Solemani really sells the role of a respected newswoman by day and party animal by night (or weekend). Gemma Jones and Jim Broadbent do their best to make their “B” story interesting, while Shirley Henderson, Sally Phillips, and Celia Imrie clock in for cameos that unite them from the previous films. The best supporting work is from co-screenwriter Emma Thompson as Bridget’s snarky OBGYN whose deadpan delivery is pure comic perfection. She only pops in for a few brief scenes, but Thompson scores huge laughs every time she appears.

Full disclosure here: I have not seen the previous Jones flicks. I contemplated about streaming them prior to this new entry, but I thought it best to go in cold, since BABY should be able to stand (or crawl) on its own (I don’t think you should have to read the book, before seeing the movie adaptation either). I realize that I’m not really in the demographic the marketing folks are aiming at. This flick is a frothy fantasy for women of (ahem) a certain age. And yes I know the multiplexes are jam-packed with flicks tailored for guys (Bond, Bourne, the Fast &the Furious , etc…). Nonetheless, this stale bit of fluff sorely tested my powers of endurance. As I’ve stated many times before, comedies should not be marathons. One hundred minutes tops. At over two hours, this film veers into Judd Apatow territory. And like most comedies of any length it hits that one hour lull at full force. What could it lose? How about the completely unnecessary “Mum’s campaign” subplot? Hey, Bridget is a wild free spirit and her mother’s a 1950’s prude! Then again, that’s one of many clichés that pass for wit. Caucasian lip sincs to hip hop…check! Little girl drops the F-bomb…in church! One of many gratuitous bombs…but hysterical…check! Leading lady dives into the mud…check! And the old “do everything or say everything I say” bit…double check! The basic plot of “daddy decision” was used way back in 1967’s Sandra Dee farce DOCTOR, YOU’VE GOT TO BE KIDDING!, along with many TV sitcoms. The talented cast just can’t work miracles with this tepid script and lackluster direction. The studio might have been thinking this could be another franchise, but hopefully the trilogy mercifully concludes with BRIDGET JONES’S BABY. Whew, somebody change that diaper!
1.5 out of 5

THE SECRET LIFE OF PETS – Review

Need to get the kiddos outta’ that oppressive July heat? Public pool’s too crowded? What about the cool, crisp air (with a dash of popcorn aroma) over at the multiplex? Sure Summer’s the time for action blockbusters and raucous comedies, but it’s also the season for all ages entertainment, particularly the animated feature offerings. Those ANGRY BIRDS flew out a few weeks ago, heading to the ole’ Redbox very soon. The wee ones have no doubt taken a dip or two with FINDING DORY, or they might be amongst the few to encounter THE B.F.G. (who knew he’d tank?). Luckily those fine folks at Universal and their animation partners at Illumination Entertainment, the Minions makers, may have just the thing. We’ve seen what toys do when left alone, what about your furry, feathered,and scaley pals? The title may sound like an undercover documentary, but laughs are in store as we explore THE SECRET LIFE OF PETS.

The main focus of the flick, the primary secret life, is that of narrator Max (voice of Louis C.K.), an adorable little white and brown-spotted terrier. He tells us of his perfect life when he was plucked out of a pet store by his human, a lanky twenty-something lady. Things were wonderful in their NYC apartment, even when Max’s person left for work in the morning. That’s because this pooch has several friends in the building and neighborhood to visit: a couple of “dog-bros”, a parakeet, a plump cat, and a lost hamster who roams the vents in search of home. But Max hangs out the most with a cute little white “puffball” of a lady pup named Gidget (Jenny Slate), who’s crushing on him big time. Yes, all’s well until that fateful day when Max’s human came home with….another dog, a shaggy, slobbering behemoth named Duke (Eric Stonestreet). The two immediately butt heads, until the tension explodes one day in Central park with their dog walker. They’re separated from their human, stripped of their collars, and almost captured by city animal control agents, after escaping a pack of nasty alley cats. Fortunately (or maybe not), the two are taken to the underground sewer headquarters of a motley group of abandoned animals led by one angry lil’ white bunny, Snowball (Kevin Hart) who vows revenge on humanity. Luckily Gidget realizes her furry dreamboat is missing and enlists the aid of several area pets, including a hungry hunting hawk named Tiberius (Albert Brooks), to locate him. Can she succeed, or will Max and Duke throw in with Snowball’s crew and give up on the long, long journey home?

This menagerie is voiced by a virtual who’s who of current comedy, vets and up-and-comers. Louis C.K. voices Max as a likable everyman (or “every dog”), a pup that tries to have an optimistic attitude even when confronted by a competitor. That rival being Duke, and Stonestreet gives him a non-confrontational almost passive-aggressive tone, in his introductory scenes. Some of his character’s edge is softened as we get to know some of his past (like Dory, Duke has trouble with “rememberie”). Slate is all energetic and enamored as the bouncy, take charge Gidget (she careens across the different settings like the old Pong game). It’s nice that she’s the one leading the charge. The biggest surprise may be the great vocal performance by Hart. I’ve found much of his screen characters irritating and one note. Perhaps being wrapped up in a fuzzy “wabbit” works better with his often manic, grating delivery. Several of Max’s pals are played by several gifted comic actors and stand-up stars such as Ellie Kemper, Lake Bell, Bobby Moynihan, and Hannibal Buress with a wonderfully creepy turn by Steve Coogan as the hairless leader of the vicious alley cats. But the real scene stealers might just be the veterans, a couple of real icons of comedy. Dana Carvey puts a new spin on his 90’s SNL complaining old “duffer” Weekend Update staple for the slow-movin’, but quick thinkin’ mastermind Pops, a big basset hound with two legs now on wheels (just love how he trips on his big long ears). And finally there’s Mr. Brooks, who’s back as papa Marlon in DORY, as Tiberius the hawk who’s fighting his predatory nature in order to help Gidget and finally have friends. Brooks gives him a lilting Eastern European (yeah, a bit of ole’ Bela) reminding us of a world-weary vampire who’s trying not to think of everyone else as a meal. I’d love to see some more of this bird.

Illumination mainstay Chris Renaud, one of the people behind the Dr. Seuss features and the DESPICABLE ME franchise and spin-offs, directs along with Yarrow Cheney. Like the other flicks, they keep the pace rolling along, just stopping long enough for several strategically placed frenetic slapstick action sequences. The look of the film is bright and shiny (I saw it without 3-D, but hopefully the upcharge doesn’t affect the color contrast) with the Big Apple looking like a merger of Metropolis and Oz. The character design is a good mix of ultra-exaggerated and sleek CGI. This is especially true of the sewer animals. The alligators are built like wrestlers with snouts nearly paper-thin (makes em’ a tad less scary I suppose), although the “initiation” beast would be right at home in any fantasy epic (like WARCRA-, oops, better not mention that flick ever again!). My only distraction was the spindly tiny legs given to those of, ahem, larger girth. Could they really stand up to the these “sandbag” bodies? Hey, it’s a cartoon, I know. My big complaint is the thin, derivative script, credited to three authors, which spends much of the running time spinning its wheels (or running in circles like a sleeping pup). Like Andy’s toys, they do lots of “people activities”, then have to make their way back home (in time for their unaware human’s return). A side trip to a sausage factory (not that Rogen flick!) is a time gobbling (just like, well) distraction (yeah, we know Busby Berkley, too). Plus the big shaggy co-star, Duke, is never really fleshed out (I’m aware of the contradiction in his size). He remains a threat to sweet lil’ Max (who could be crushed by a swipe of Duke’s portly paw) for the majority of the adventure. Story-wise, this doesn’t tap into anything new, but the wee tykes will ooo and awww over the puppies and kitties, then giggle and squeal at the toilet humor (yeah, they get a drink there), but their folks might get a bit…fidgety (that’s a switch!). After the sophisticated, even emotionally moving work from Disney (on their own pictures plus the Pixar releases) and Dreamworks (the first DRAGON still packs a wallop), this is too familiar. It tickles the funny bone, but never really engages the head and heart. THE SECRET LIFE OF PETS has admirable elements, but it’s just better than average matinée material. Who’s a fairly good movie? You are! Yes, you are!

3 Out of 5

WARCRAFT – Review

So, we’re almost at the halfway point for movie year 2016. Since we’re a few weeks into the Summer flick season, the studios are trying to hedge their bets (and investments) by delivering entertainment with a recognizable name. There’s been a glut of sequels (two this very weekend), and two franchise films based on comic book characters (Cap’s latest is the year’s biggest hit). Hmmm, what other properties are ripe for cinematic exploitation? Ah yes, games! Just a few weeks ago ANGRY BIRDS, an animated romp based on an “app”, grabbed the number one box office slot from the shield-slinger! And this weekend sees a live action/CGI-animated hybrid based on an immensely popular on-line video game that began 22 years ago. Now, the studios have been trying to lure game players into the multiplex for years, well over twenty since those SUPER MARIO BROTHERS made the big bounce to live action back in 1993. STREET FIGHTER and MORTAL KOMBAT soon followed to so-so interest. WING COMMANDER, DOOM, and HALO were also adapted in the remaining years, but nothing really translated with great numbers. Now Universal is hoping that audiences will “log out” and embrace a non-interactive adventure set in that popular “cyber-world” of WARCRAFT.
The story begins with two orcs (savage human-like behemoths with pointed ears and protruding tusk-like fangs) from the world of Durotar named Durotan (Toby Kebbell) and Draka (Anna Galvin) who eagerly await the birth of their child. But duty calls when they become part of the sorcerer Gul’dan’s (Daniel Wu) invading forces. He has found a way to open a magic portal to the human world, Azeroth. There they will capture the residents and use their collected life force to power multiple portals, so that the orcs and their allies can take over the new world, since their home planet is dying. But a young human apprentice wizard named Khadgar (Ben Schnetzer) alerts King Llane Wyrynn (Dominic Cooper), who is also head of the Alliance with elves, dwarfs, and other races. The good king sends his most trusted warrior (and brother-in-law), Anduin Lothar (Travis Fimmel) to engage the help of the veteran wizard Medivh (Ben Foster) AKA the “Guardian”. When Lothar’s men are attacked by an orc platoon, they take an orc prisoner, a woman shunned by her society who seems nearly human, named Garona (Paula Patton). Eventually she becomes a friend to Lothar, but Garona is not alone in her sympathies. Durotan believes that Gul’dan has been driven mad by his magics. The only hope for both worlds rests on the defeat of the powerful crazed sorcerer before his plan comes to fruition.

A very talented cast is almost overwhelmed by the almost nonstop mayhem. That they’re not drowned out by the constant “sound and fury” is a testament to their considerable skills. Fimmel is a stoic, sturdy action star who may be on the road to a solid film career after his star-making turn on TV’s “The Vikings”. Foster does his best to add some world-weary gravitas to the grim guardian, but is hampered the character’s hazy motivations. Patton is able to project a sultry exotic sexuality, despite the ludicrous fangs that make her look like a late, late show cavegirl (they don’t aid her line delivery, either). The compelling Cooper (Tony Stark’s pop in the 1940’s) is given little to do aside from looking concerned and inspiring his troops into battle (he does look great in that nifty lion’s-head helmet). Schnetzer (PRIDE) brings a great deal of energy to his eager, but untested spell-caster. “Motion-capture” actors Kebbell (so good as the villain Koba in DAWN OF THE PLANET OF THE APES), Galvin, Wu, and screen vet Clancy Brown are able to emote expertly despite their often clunky CGI masks and coverings.
I harbored high hopes for this flick when I learned that the very talented young director Duncan Jones was at the helm (his SOURCE CODE was a dandy B-flick delight) while collaborating on the script with Charles Leavitt. Unfortunately the finished product (yeah, more of a product than a film) is a loud, over-stuffed, incoherent, cluttered mess. Perhaps the producers thought that the ‘scope” would placate and even satisfy the games’ many fans. For those of us going in “cold”, the pixels and people seem like half-baked retreads from Peter Jackson’s Tolkien trilogies (which wore out their fans with that third HOBBIT “cash-grab”). Many times we’re just reminded of much better fantasy flicks (“boom-sticks” made me yearn for ARMY OF DARKNESS). The CGI effects and designs are adequate (the orcs were “mini-hulks” while their modes of transport, packs of big fluffy wolves, look like they dashed in from the final TWILIGHT movie). A scorecard is almost needed to keep track of characters, while the banging, bombastic score by Ramin Djawadi is migraine-inducing (the lackluster 3D adds much to the discomfort). The flick lumbers on from battle to battle, wearing the viewer down as if we’re slogging it out with the pixel beasties. It’s two-hour running time feels like a tiresome trilogy. Then, when it appears the blessed end arrives, we’re given an epilogue that rips off Moses (yeah, the Superman origin does that too). Mr. Jones, this is a prime example of when “bad films happen to good people”. On to more worthy efforts! My rating is for the many skilled craftspeople who spent weeks and months staring at their computer screens. May your talents outlast the memory of the dismal, deadly dull WARCRAFT.
1/2 Out of 5

POPSTAR: NEVER STOP NEVER STOPPING – Review

Last week saw the wide release of one of the year’s best documentaries, WEINER. Through very funny (and tragic at times) everything in this political profile is real (much to the title subject’s embarrassment). So, let’s turn the tables this week with a fictional comedy, shot and edited as though it’s a documentary. Yes, it’s another example of the hybrid made so popular by triple threat Christopher Guest (it’s almost as though he invented it), the “mock-umentary”. All the way back in 1984, Guest (with director Rob Reiner) torpedoed the serious film format with the look at a fictitious heavy metal band in THIS IS SPINAL TAP (later he, as actor/writer/director, would take on 60’s folk music with A MIGHTY WIND). Happily a current group of satirists have decided that those music styles are not the only ones ripe for ridicule (rap got some ribbing in 1993’s CB4). With the recent concert docs on Justin Beiber and One Direction, the talented trio known as the Lonely Island (Andy Samberg, Avika Schaffer, and Jorma Taccone) take aim at “bubble gum” idols and icons with POPSTAR: NEVER STOP NEVER STOPPING.
The “popstar” in the title is the “artist currently known as” Conner4Real (Samberg). The film quickly fills us in on his back story. He originally rose to fame as part of the much adored hip-hop “boy band” he formed with his childhood chums Owen (Taccone) and Lawrence (Schaffer), the Style Boyz. Conner seemed to be the breakout star of the team which led to a mid-concert smack-down with Lawrence. Conner would become a solo act (joined by Owen as his DJ), while Lawrence became a bitter farmer in the wilds of Colorado. Sold-out concerts and best-selling CDs elevated Conner to the rank of pop superstar. He’s managed by “old school” mentor Harry (Tim Meadows) and hard-driving publicist Paula (Sarah Silverman). They’re all prepared for the release of Conner’s new collection of hits, one that will break sales records set by his previous works. But things don’t work out ( a real understatement). Reviews are scathing, sales are limp, and so, desperate measures are taken in order to “course-correct” Conner’s career. Unfortunately each new move leads to bigger disasters, from a “synergy” alliance with a household appliance conglomerate to the hasty addition of a hot opening act for the sagging arena concert tour, the edgy hard-core rapper Hunter the Hungry (Chris Redd). Nothing seems to work, not even Conner’s tabloid-fodder romance with YA movie star Ashley (Imogen Poots). Will this doc become the chronicle of a rapidly fading and falling star?

Samberg leads this pack of comedy pros like a decorated general guiding his troops to victory against the many lackluster recent comedies (mainly two big studio efforts from a couple of weeks ago). Though Conner can be arrogant and obnoxious, with an unbridled ego, the superb Mr. S makes us care about him and even hope for him to triumph despite himself. He truly throws himself into every humiliation with a joyful energetic abandon. Happily his two Island pals are also up to the task. Taccone is an endearing stooge/lackey, trying and failing to hold on to his dignity. Schaffer is a surly delight as the angry and frustrated third wheel, particularly as he rants while displaying his crude wood carvings that adorn his dismal cabin. Fortunately the film is filled with lots of alumni from Sandberg’s alma mater, namely the Not Ready for Prime Time Players from TV’s Saturday Night Live. Meadows is endearing as the put-upon ego wrangler of Conner. Silverman is tough and focused with a sharp sarcastic streak. Maya Rudolph is terrific as an up-tight corporate queen as is Bill Hader as a laconic “roadie”. The real scene stealer may be the group of comic actors led by the snarky Will Arnett in a savage take-off of a popular “viral video”-inspired TV staple. This is a parody that truly draws blood, exposing certain fringe media “reporters” as screeching sadistic hyenas. They’re the inspired icing on an already tasty confection.
Taccone have Schaffer have helmed big screen comedy features before (MACGRUBER and THE WATCH respectively), but working on the script they co-wrote with Sandberg, they have reached new comic heights. Making light of pop excess may seem like “shooting fish in a barrel”, but the level of wit and invention is quite startling. The concert footage and the music videos (“Equal Rights” works on so many levels) are convincing recreations. The actors are mixed superbly with “talking-head testimonials” from real music stars (these folks are truly good sports). Yes, the film really earns it’s “R” rating for some excessive language, drug use (with blunts replacing martinis), and a crude but clever bit involving a limo ride, but the directors keep the pacing tight with the film clocking in at just under 90 minutes (hear that, Apatow?). There is that dreaded “lull” at the one hour mark, but the plot bounces back for a very satisfying finale’. This is a rebuttal to the 60’s pop standard, “There Ain’t no Cure For the Summertime Blues”. Those seeking immediate relief should seek out POPSTAR: NEVER STOP NEVER STOPPING (for laughter lasting more than 12 hours, please consult a physician).
4.5 Out of 5

THE BOSS Review

Ready for another ride on that now revered cinematic stand-by, the “riches-to-rags-to-riches” story? This seems to be more popular now, although the “rags-to-riches” tale of triumph occasionally pops up, as in last December’s inspired by true events crowd-pleaser JOY. And once more, this up and down and up scenario is mined for laughs, just as in the comedy from nearly a year ago, GET HARD. Oh, and what a coincidence, one of the stars of that film, Will Ferrell, is one of the producers of this new film. But neither he or one of the other kings and princes of current movie mirth star. Rather, this is another starring vehicle for the reigning (nearly five years now) queen of cinema comedy, Melissa McCarthy. In between last summer’s smash SPY and next summer’s much talked-about reboot/re-imagining of the GHOSTBUSTERS, she has re-teamed with hubby Ben Falcone on this script (along with actor Steve Mallory) which Ben also directs. Now the last time the couple collaborated like this was two years ago on the wildly uneven TAMMY. Can the duo rebound from that much-maligned effort with THE BOSS?

The title refers to Michelle Darnell, who we first encounter during several rejections occurring during her childhood. Several prospective parents drop her back off at a “sisters of mercy”-type orphanage, returning her to Sister Aluminata, and speeding away. Teenage Michelle vows, ala Scarlett O’Hara, that she’ll show them by being rich and successful. Jump cut to today as the adult version (McCarthy) packs a huge Chicago stadium for her motivational seminar on how to attain great wealth (after all, she’s the 47th richest woman in America). Later, as she berates her stressed-out assistant Claire (Kristen Bell), Ms. D gets a call from business rival (and ex-lover) Renault (Peter Dinklage). Seems she has screwed him out of a big stakes company acquisition and boasts of her “inside info”. But Renault (pronounced “Rey-no”), has something up his petite sleeves and contacts his man at the SEC. As she leaves her high-rise HQ the next morning, she is arrested for insider trading. After a quick trial she is found guilty and sentenced to a “minimum security” prison (more like a country club). Claire continues to aide her, but soon quits since the feds have taken every bit of the Darnell empire, and the single mom takes an investment job at a small firm, in order to provide for her pre-teen daughter Rachel (Ella Anderson). When Michelle is released, no one is there to welcome her back to society. Desperate and destitute, Michelle arrives at the modest apartment of Claire, who agrees to let her ex-boss crash on the couch for a few days. This stretches into weeks. Claire insists Michelle help out by taking Rachel to an after-school meeting of the Daffodils, a national girls’ club. As Michelle learns of their highly profitable cookie sales drive, a light bulb goes off. Claire has a fantastic brownie recipe, so…Michelle creates a rival to the Daffodils, Darnell’s Darlings, in order to sell the treats door to door. Will this be her ticket back to the big time? Or will Renault thwart her once more?

Once again, the talented McCarthy completely commits to a comic character (one she helped create years ago during her stint with the Groundlings, an LA-based improv comedy troupe) and is the film’s energetic power-source. From the moment we see her gliding atop a golden phoenix, her turtleneck nearly stretched to her mouth like a ginger sister of Bazooka Joe’s pal Morty, she commands our attention even in Darnell’s most outrageous behavior. Somehow, we continue to root for this vain whirlwind, a credit to McCarthy’s considerable acting chops (shown best in 2014’s low key supporting work in ST. VINCENT). She’s got a gifted comedy partner in Bell (though not quite the zenith of Sandra Bullock in THE HEAT). Ms. Bell doesn’t have as many chances to really cut-loose, although the bra debate is one of the film’s highlights. Often, she’s merely there looking aghast at Darnell’s antics. And she’s saddled with a dreary romantic subplot with office cubicle neighbor Tyer Labine, so funny in TUCKER AND DALE VS. EVIL. Here Labine is merely the needy puppy, trying to woo Claire, until he finally gets to wig-out briefly during the film’s final act. The film has its share of villains conspiring to stop Darnell and company. The supremely gifted SNL current cast member Cecily Strong is given little to do as Claire’s new boss Dana. Dinklage wrings a few laughs as the pompous and effite Renault, especially when his martial arts obsessions provide a ludicrous final fight. Timothy Simons (another HBO vet from “Veep”) make a solid grinning servant who towers over his master, but the battle of the fawning syncophants might be won by the very funny Cedric Yarbrough as Darnell’s driver Tito, who shamelessly flatters her while disparaging Claire. The film’s most worthy adversary is the hysterical Anne Mumolo (co-writer of BRIDESMAIDS) as Daffodil parent Helen who’s unafraid to go nose-to-nose with Darnell in several altercations. It’s a funny fearless performance that matches McCarthy’s bravado. As for the rest of the cast, Anderson is an adorable heart-tugger, Kristen Schaal (A WALK IN THE WOODS) is the “PC” Daffodil leader easily steamrolled by Darnell, and Kathy Bates (another TAMMY co-star) has a brief cameo as Darnell’s mentor.

Speaking of TAMMY, this new vehicle is the better film, but some might consider this to be a perfect example of the old adage “damning with faint praise”. Falcone seems to be a more confident director, although he relies too often on characters speaking directly into the camera (perhaps to allow for more improv). He still lingers on reaction shots which contribute to the film’s sluggish length (along with all the slow motion on the big street smack-down). The main faults are in the script’s structure. When the one hour lull creeps in, an attempt at pathos sneaks in to try and make Darnell a more sympathetic character (she’s still that rejected lil’ girl watching another family speed away). It’s as though the screenplay lost its courage and wanted to smooth out Darnell’s rough edges in order to prep us for a feel good fade-out. And it doesn’t help that the film’s best jokes and gags have already been given away in the trailers and TV spots. The cartoonish caper climax seems out of place also (suddenly it’s OCEANS 14?). McCarthy’s best collaborator is still Paul Feig who truly plays to her great strengths while dividing up the laughs equally amongst her co-stars. There’s lots of great set pieces, but the story just looses its comic momentum as they bypass the funny bone for the heart strings. Though the script attempts to bind her, Melissa McCarthy remains a fractious force of nature as THE BOSS.

3 Out of 5

SISTERS (2015) – The Review

This new comedy questions an old adage, since it ponders whether you truly cannot “go home again”. It further wonders if you can party “hearty” back at said home. Then you could put another spin on a saying by staggering and weaving down “the road not taken”. The protagonists of this film are not middle-aged “lost boys” usually played by the likes of Will Ferrell, Seth Rogen, and Adam Sandler. They flail about in flick after flick as stumbling, bumbling examples of the “man-child”, often with wives mortified at their antics. But what about flipping that comic trope? Can’t these farces feature a “women-child”, or two? Ladies regressing back to simpler times? Well, here’s two actresses that are more than ready for this challenge. Hard to believe that over seven years has passed since they were an on-screen team in BABY MAMA. But happily they’ve been deflating Hollywood egos as an impressive award-show tag team in the meantime. In their return to the multiplex, Tina Fey and Amy Poehler are now very different, but very devoted SISTERS.

Maura Ellis (Poehler) is a divorced nurse in Atlanta whose attempts at helping folks (mistaking workers on the street as the homeless) ends in disaster and derision. But, she’s pretty responsible and mature which seems to be the opposite of sister Kate (Fey). She’s a beautician and single mother whose teenage daughter Haley (Madison Davenport) tends to go AWOL after being frustrated with Mom’s exploits. When Kate is booted out of another pal’s apartment (she’s truly homeless, crashing on couches until her hosts have had enough), she contacts Maura. But she’s still reeling after getting a bombshell phone call (Skype actually) from their folks (James Brolin and Dianne Wiest) down in Orlando Florida. They’re living in a retirement village condo after putting the family home on the market,so their daughters need to clean out their old bedrooms. When Maura and Kate converge at their old domicile they’re stunned to see a sold sign on the front lawn. After meeting the obnoxious, snooty new owners, the sisters decide that there’s only one thing to do. And no, they don’t just pack up their stuff and clear out. The Ellis girls decide that they must host the wildest party ever before bidding adieu to the ole’ homestead. And Maura decides to finally “sow her wild oats” with the hunky new neighbor across the street, James (Ike Barinholtz), so Kate agrees to be the “party mom”, staying sober to oversee everyone. So, what could go wrong, besides their old high school nemesis Brinda (Maya Rudolph) getting wind of her “non-invite”? What could happen, since they’re all adults? Right?

Here’s a different part for Ms. Fey. Kate is almost the “anti-Liz Lemon” (her role from the sitcom she created and headlined “30 Rock”), or perhaps the old TV “soap opera” cliché, the “evil” twin. In her tight-fitting animal prints, she’s a free-wheeling, wild spirit, an unrestrained id sporting high heels (a less disturbed version of the title character from the early 2015 film MOMMY). Fey is looser, more feisty, and energetic than we’ve ever seen her. She’s the electric charge that powers the plot. Ms. Poehler doesn’t veer too far away from Leslie Knope (her role on TV’s much-missed “Parks and Recreation”) in a character that’s very sweet and very awkward (her attempts at “sexy banter” are a scream). Mind you, she’s just as hysterical as Fey, but Poehler gives Maura a real vulnerability that helps propel her character’s romance. Most of all, she’s not merely the “straight” woman for Fey’s fireball. Poehler has a terrific “love match” with the gifted Barinholtz who’s playing a real “guy’s guy” and a nice change from his manic nurse on TV’s “The Mindy Project”. But he still cranks up the funny, particularly in an often painful stunt involving a ballerina. Brolin and Wiest (currently playing a couple on TV’s ” Life in Pieces”) score big laughs as the bewildered parents while providing a wake-up call to their offspring. Rudolph is an endearing rival and holds her own during the verbal, and eventual, physical smackdowns with Fey. Oh, and Fey gets to flirt with a very deadpan John Cena (so good recently in TRAINWRECK) as the mucho-muscled, stoic drug dealer Pazuzu (love when he lists his stock). The party-goers are filled with comedians, comic actors, and SNL vets (alumni and current) with Bobby Moynihan (“Drunk Uncle”) stealing scenes as a pathetic former class clown. Oh, and I should mention Greta Lee who shares one of the film’s funniest scenes with Poehler as she tries to teach Maura the proper way to say her Korean name Hae-Won. Stick around for the end credits to see Poehler fail to keep a straight face while contorting her mouth for the exact pronunciation.

As I mentioned earlier, this is the second screen pairing of these two talented women (both were in MEAN GIRLS, but had no scenes together), unfortunately a real rarity. Male comedy teams have been part of cinema for decades. Some are true partners (as Leonard Maltin points out in his superb book on the subject) as with Laurel and Hardy all the way to Cheech and Chong. While other male comedy stars work together frequently, from Bob Hope and Bing Crosby to Gene Wilder and Richard Pryor, to the current duos like Seth Rogen and Jamed Franco. There was an attempt by producer Hal Roach to establish a female 1930’s comedy team with Thelma Todd and Zasu Pitts (replaced by Patsy Kelly), but woman duos were a fixture of TV, from Lucy and Ethel to Laverne and Shirley, and recently those “Two Broke Girls”. Fey and Poehler have such an easy rapport and expert timing, so hopefully this comic collaboration will continue for several more features. It’s a shame that this entry is not on par with their impressive skill set. The script by former SNL scribe, and comic actress, Paula Pell is chocked full of great bits for the duo, but like many screen comedies it seems to lose its momentum at around the one hour mark, settling into an all too common, deadly “lull”. This may be the fault of PITCH PERFECT director Jason Moore, who needed to make the film a good 15 to 20 minutes shorter (as I’ve said in the past, comedies really shouldn’t be over 100 minutes unless the word “mad” is in the title four times). These are funny people, true, but not everything’s gold. The party montages, just as in the teen comedies, become tiresome and with adults, kinda’ desperate. And the drug stuff danger takes away from the humor (really, these aging swingers would be headed to the ER). Plus the massive property damage final act doesn’t have the desired payoff. If you’re fans of this Golden Globes super team, then the film is a must see. Let’s see if they kind find a better showcase in the near future, because the scenes when they’re together is the only time that SISTERS soars.

3.5 Out of 5

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