A Trip To The Movies: Review – “Trainwreck” 7.19.15

“Trainwreck” is the new Judd Apatow directed comedy written by and starring Amy Schumer. Like with any new Apatow comedy, I like so many others (evidenced by the sold out crowd at the showing I saw), share quite a bit enthusiasm for his work. After all, even though Apatow has his fair share in a number of Producing credits (“The Cable Guy”, “Superbad”, “Forgetting Sarah Marshall”, “Pineapple Express”, “Get Him To The Greek”, “Bridesmaids”, and “The 5-Year Engagement”, to name a few. After working in television on both the short-lived “Freaks and Geeks” and “Undeclared”, as a feature-length film director, he only has 4 films under his belt. First, what some consider to be his best, was “The 40-Year Old Virgin”, which made a then almost unknown Steve Carell into an almost overnight sensation. This followed by “Knocked up”, which was the launching pad for Seth Rogen’s career (prior to that he really was only known for starring in the two aforementioned Apatow TV series), to what I consider his best film to date – the Rogen/Adam Sandler comedy “Funny People”, to his last and probably most poorly received film “This is 40”. I was excited to hear that Apatow was returning without his usual cast – missing here is his real life wife and regular star of his films, Leslie Mann. Nor were his children cast (a move that I always thought was a rather narcissistic one on Apatow’s behalf). Also missing here was Rogen, who has starred in two of his three films prior (I don’t know about you, but I think a lot of us are kind of burnt out on Seth Rogen). What interested me most about his newest project was not only did Apatow seem to be branching out in terms of casting but even more so, that he cast the little known (to the film world that is) Amy Schumer, a stand up comic whose been creating quite a few waves on the comedy circuit for years. That and she penned the screenplay and got a sole screenwriting credit along with landing a role as the star of the film. It’s because of my love of Apatow comedies and the word-of-mouth buzz that Schumer absolutely knocks the role out of the park that once I saw the film advertised and opened to much praise from both users and critics alike that I rushed out to the theater to be one of the first to catch my first glimpse at the newest from the reigning and undisputed king of comedy.

The film opens with one of the stronger and funnier opening scenes as a father (Colin Quinn – expertly cast) tries to explain to his two young girls why he and their mother are getting divorced by using dolls as an analogy (“like kids do, adults eventually get tired of the same doll and want to branch off and play with other dolls”). Flash forward 23 years, and we are introduced to the two young girls from that opening scene. Amy (played by Amy Schumer) as she explains her life in voice-over. A late twenties/early thirty-something teenager stuck in an adult’s body. While she takes her job seriously as a writer for a popular New York magazine, her personal life is in shambles (well, according to the viewer anyway, though Amy would tell you otherwise). She sleeps with as many men as possible, and along with a montage of drunken one night stands where she plays by a set of rules (never sleep over after sex, no cuddling, fuck em and flee, the list goes on and on) we learn where her priorities lay (with the exception of work – mostly drinking and sex). This is counterbalanced by her younger sister (played by my favorite under 30 actress – Brie Larson, whose done some really strong work both inside and out of comedy) as well as her husband (“Sleepwalk With Me”‘s Mike Birbiglia) and her young nephew (one of those young Science geeks who their grandfather/Colin Quinn sums it up rather hilariously – “he’s the type of kid we used to beat up in school”). While Amy loves her sister, she is also somewhat disgusted of her domesticated lifestyle, which in some ways gives her own kind of self rationalization and justification to continue living the lifestyle that she does. That is until she is given the assignment of writing a piece on a young medical doctor who works with sports athletes (again, played by another one of my favorite comedic actors to perfection by Bill Hader). I won’t go too much further into it other than to say that she develops a relationship with him, one that even she never thought possible (is Amy actually capable of being able to “love” someone?).

In summary, “Trainwreck” works on a number of different levels but is also slightly flawed. Here, Apatow puts his best yet ensemble piece yet, with Schumer paving the way and bringing a certain likability and authenticity to her performance in what I thought was the best part of the film (believe the hype, she is nothing short of astonishing here). As was Bill Hader in the boyfriend role, Brie Larson as her younger sister, Tilda Swinton as Amy’s boss, Colin Quinn as her dad, Mike Birbiglia as her brother-in-law, and get this – both former WWE star John Cena as one of her only serious boyfriend’s prior to Hader’s character and who I had my doubts about but who puts in one of the best real life sports athlete performances by Lebron James (apparently he can play Basketball and do comedy). The story has a lot of heart. And the first half had the audience laughing so hard from minute to minute that I heard a lot of people around me ask – “what did they just say”, as they were still laughing from the joke that preceded it. It’s what Apatow does best. And similar to what Noah Baumbach has done with Greta Gerwig, it becomes quite apparent that Schumer acts as his direct source of inspiration for and muse here and is the comedic actress he’s been waiting for all along to do a project with as she really does hit all of the right notes. Here’s what detracted a bit from the film for me. Like “Funny People” and “This Is 40”, writer Schumer and Apatow tell a story that at about the halfway point, falls more into dramatic territory and while the jokes remain consistently funny throughout, I personally felt like the momentum of the film died down a bit in its second half as Amy goes through a somewhat predictable self-transformation from her former self into her new-found self as her relationship with Hader’s character gets more serious. That being said, there’s plenty of laughs galore here and as promised, Schumer is a revelation here as she puts in one of the stronger female comedic roles that I’ve seen since Jenny Slate in last year’s “Obvious Child”. At times a bit formulaic but consistently funny from start to finish. “Trainwreck” winds up being one of Apatow’s stronger efforts in his still small but expanding filmography in a film that marks Amy Schumer as one of the most exciting, new young talents in a film that should please almost any fan of feel good comedies even despite some of its flaws.

[B]

This Weekend! Judd Apatow’s new comedy “Trainwreck” – Sun, 7/19 350 @ Fox Tower

Sunday, Jul 19, 2015, 3:45 PM

Regal Fox Tower 10
846 Sw Park Ave Portland, OR

13 Portland Film Enthusiasts Went

It’s never to early to start planning for the next movie meetup! In what looks like it’s gearing up to be the comedy of the summer. I for one am excited for the new film from the director who has brought us some of the best and most notable comedies of this century so far (“The 40-Year Old Virgin”, “Knocked Up”, “Funny People”, “This is 40”). The r…

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Review: “The Disappearance of Eleanor Rigby: Them” 2.1.15

This was a film that I had been following throughout the festival circuit as it had opened to mostly positive reviews at the Toronto Film Festival in 2013. Shown as a 2-part film at that festival with the same title but differentiating each part by “Him” and “Her” it wound up popping up at last year’s Cannes Film Festival put together as one film – “Them”, for reasons I can only speculate on but can imagine the Weinsteins felt a 2-part film would be much more difficult to market and turn off audiences by the daunting task for watching (for further proof see Steven Soderbergh’s brilliant “Che” which was shown in 2 parts but was virtually unseen as it clocked in at just about 4 and a half hours). So here we have the 2 films packaged together in one part that I almost considered seeing in their original 2 parts, but decided to forego the idea and see the version that was released this year on DVD. I wanted to see this film for 2 major reasons, both of them having to do with the fact that I knew little to next to nothing about it other than I thought I had read a Stephen King book by the same name years back and without having researched it though it might be an adaptation of it. That and I really really like Jessica Chastain, who won me over in a number of recent films like “The Tree of Life (2011), “Take Shelter” (2011), “Zero Dark Thirty” (2012), and last year’s “Interstellar” (I’m also really looking forward to seeing her in the recently released “A Most Violent Year”). She almost never seems to disappoint and is one of the best actresses currently working in the film industry working today. I’m also a fan of James McAvoy. Liking his career trajectory and his choices of films he’s made with movies like “The Last King of Scotland” (2006), “Atonement” (2007), “Trance” (2013″), as well as his TV work in the original BBC version of the show “Shameless” (2004-2013). So not knowing much about it added to the fact that I really admire the 2 leads, was the real reason that led me to want to see it.

The film starts out by introducing us to its 2 leads – a woman named Eleanor Rigby (Chastain) and her husband Conor (McAvoy). The two appear to be madly in love which is seemingly quite apparent from the start. However, soon after, we find Eleanor jumping off a bridge and plummet to what we think is her demise. Though she lives the fatal accident, and returns home to her family, who don’t seem to know how to act or what to do or say since their daughter has just attempted to take her own life. Her father (played by the always excellent William Hurt) encourages her to go back to school to get her mind off of things and gets her back into a program she once dropped out of (for reasons that is uncovered as the story unravels) with the help of a professor (“Doubt’s” Viola Davis). Meanwhile James McAvoy’s character Conor, who runs a restaurant that’s a sinking ship, too goes home to his wealthy but distant father and receives little to next to no compassion other than a place to stay. He does seek solace in his best friend, the chef at his restaurant (Bill Hader, who I loved in last year’s “The Skeleton Twins”), but even he can’t seem to be capable of giving the help Conor seems to so desperately need. Conor begins to track down his ex-wife Eleanor as he appears to want nothing more than to have a conversation with her. Though Eleanor is completely shut off from both him and her family, but finds a bit of sympathy in Viola Davis’ college professor. The film then rears its head and gives us a bit more back story into what event ultimately led to the couple’s decimated marriage. Which is when we as the viewer are entered into a heart-rendering story about grief, loss, and the devastating effects it can have when people are confronted with it.

I wound up being slightly mixed about the film but thought it had more pros than it did cons. First off, it totally went against my expectations of being a mystery, suspense, or horror story and winds up a more conventional and straight ahead drama. Throughout it I couldn’t help but think about other films that I’ve seen that deal with similar themes like death, loss, the grieving process, and failed marriages like Todd Field’s “In The Bedroom” (2001 – one of my top 25 favorite films of all time) as well as 2 other films from 2010 – John Cameron Mitchell’s “Rabbit Hole” and Derek Cianfrance’s “Blue Valentine. All of which came to mind while watching it. The acting here, as one would expect from both of these two brilliant young actors, is top-notch. Chastain once again puts on a performance that’s a sight to see beaten down by her loss. McAvoy was also almost equally as good as her grieving ex-husband who has his fair share of demons. I also really liked its ruminations on grieving and how everybody deals with it differently, which is a credit to the writing team. Where it fell a bit short with me was its sometimes slow pacing in which it’s a bit confusing as to why Chastain’s character Eleanor or her ex-husband are in grief and mourning until about halfway through, when I personally thought the revelation could have come much sooner and been just as effective. It also felt a bit too familiar as the majority of us have probably seen this same subject depicted and explored before like in the films I mentioned above. Lastly, the ending felt a bit anti-climatic, that left me thinking what the overall message was that the writer and director wanted me to take from it other than grief and the coping of a loss can be incredible difficult. That being said, the two performances, at least to me, were both good enough and the story though a bit trite, was engaging enough that I’d consider it at least a worthwhile watch. Even if the end result leaves a little bit left to be desired.

[B-]

Review: “The Skeleton Twins” 12.13.14

I guess I wasn’t entirely sure what drew me into wanting to see this film. Other than that I had heard and/or read mostly positively priases and it scored well on the various movie review sites that I visit. That and coming off the heels of two dark films that I watched last weekend in the form of both “Calvary” and especially “Nightcrawler” I think I was in the mood for a bit more lighter-fare. But even more so, I’ve particularly always been a fan of Bill Hader and often feel as if he’s much too underutilized in films and mostly plays bit parts. So the promise of seeing him in something where he played the leading man in piqued my interest from the start. Being in that I’m really a Saturday Night Live novice post anything 2000, I can’t say that I’m familiar at all of any of his work on that show. Along with co-star Kristen Wiig. I know neither of them from their work on that show, but rather from supporting parts in movies I’ve seen like 2011’s “Paul”, a movie in which both of them starred in. I also liked Hader in comedies like “Superbad” (2007), “Knocked Up” (2007), “Forgetting Sarah Marshall” (2008), “Pineapple Express” (2008), “Adventureland” (2009), and “This Is 40” (2012). Also, a lot of people don’t know this, but Hader was employed as one of South Park’s head writers for a couple of seasons. There’s a great “making of” South Park documentary that I caught on Netflix streaming awhile back. That shows Hader in his element as they give us a glimpse into the writing and making of a South Park episode. Creators Trey Parker and Matt Stone, regardless of what you think about their show, are so unbelievably successful that they can pull in guys like Hader to write for them. And it’s through this documentary that I found myself developing a deeper respect for him as both an actor and writer. His sheer talent is undeniable. As for Wiig, I can’t say I’ve really seen her in anything outside of the afore-mentioned “Paul” (no I have not seen “Bridesmaids”) and in her hilarious supporting turn in the often much too underrated “MacGruber” (2010). So just based on word of mouth and the fact that I was looking for some lighter fare with a couple of young comedic actors I thought I would give this one a whirl.

The film opens to a rather coincidental and tragic event, both which take place on opposite coasts by 2 siblings – Bill Hader’s Lou and Kristen Wiig’s Maggie. It is through this mere act that the brother and sister are reunited after 10 long years of being estranged from one another. Lou, who seems to be in a very dark place and in desperate need of some much-needed love and support, gets an invitation by his sister Maggie to come stay with her and her husband (played by Luke Wilson, in a great supporting turn) in rural upstate New York. he takes her up on said offer and moves from his dismal life in Los Angeles to her much more suburban-esque home and lifestyle in upstate New York. As is with a lot of siblings, both on-screen and off, they seem to click almost right away and pick up right from where the beat left off. Lou hesitantly acclimates himself and is brought into both his sister and husband’s seemingly domestic home life, and given that she still lives in the same hometown in which they grew up on, starts to revisit some of his past. Facing past failures upfront and face to face, and we begin to learn a bit about his back story. Though while Maggie’s lifestyle seems to be idyllic from the outside. She too is also plagued with her own past failures and her inability to be the wife that her husband, Luke Wilson’s character, appears to deserve as he is a kind-hearted, compassionate, and loving husband. Who also seems invested in his brother-in-law Lou’s recovery from some of his past failures. The two siblings begin to learn that they’re really not much different from one another and are plagued by the same events that happened to them as kids, which makes things rather difficult and opens up doors to facing some of their let downs and disappointments from their childhood. It is through this bonding which things begin to resurface and they begin to realize that they’re not much different than one another. Even despite of them having spent so much time apart.

“The Skeleton Twins” winds up being one of the biggest sleeper hits of the year in terms of its genre. It’s a very sad but honest look at two siblings so troubled and scarred from their childhood that even while in the comfort of one another’s presence, their past seems to catch up with them and makes them face their true fears and disappointments about the flawed adults in which they’ve become. The film brough a lot of my own personal feelings to light, having lived a similar, somewhat tumultuous childhood. The way in which the two siblings’ bond is portrayed is spot on and both Hader and Wiig give complex, layered performances that felt sincere, real, and truly human. It just goes to show that two actors who are better known for their comedic work in, if given the right material, can truly shine as dramatic actors. In fact, I was so impressed by their performances, that I found myself totally immersed myself in the story and emotionally invested in their 2 characters, that I was taken by quite a surprise. There was a certain rawness, a certain authenticity if you will, that I have to say I didn’t think these particular leads could pull off. But they do and then some. Anybody with a sibling or siblings should be able to identify with a lot of the themes explored in this film. As it really does a great job at depicting the ties that bind while also acknowledging that the past may be through with us, but we are never through with the past (a quote lifted from Paul Thomas Anderson’s “Magnolia” (1999) ). There’s an emotional core to the story that seemed totally believable and had me invested from start to finish. Nevermind that I counted maybe 3 or more scenes that were so raw, so poignant, and so heartfelt, that I found myself either being completely moved by them or evoking a beaming smile. This is one of the saddest feel good movies that is executed almost perfectly along with being incredibly well acted, that I’d be hard pressed not being able to recommend it to just about anybody. This is a film that totally took me by surprise, and one that I would employ you to see as its maybe one of, if not the best, dark comedies that I’ve seen all year.

[B+]