* * *
D: Betty Thomas. Gary Cole, Shelley Long, Christine Taylor, Jean Smart, Michael McKean, Christopher Daniel Barnes, Jennifer Elise Cox, Paul Sutera, Olivia Hack, Jesse Lee Soffer, Harriette Mantel
PG-13 for racy innuendoes; 90 min. USA
Tagline: They're back to save America from the '90s
A better tagline would be, Put on your Sunday best, kids, we’re going to Sears! As an appreciative viewer, one definitely needs to have grown up watching the popular sit-com that ran from 1969 to 1974 and its awful sequels about a blended family to appreciate this gem. It also helps to have a healthy contempt/affection for anything from the 1970s. I have both, so I loved it. I remember those horrible tacky clothes from Sears and wanting long blonde hair like Marcia.
This time around, the Bradys are a 70s family completely unaware that they're living in the 1990's, and even less aware that they just aren't remotely cool. Gary Cole and Shelley Long (Cheers) are a riot as Mike and Carol Brady respectively, especially Cole, who steals every scene he's in as a pedantic, clueless 70s dad who practically holds everyone in the room hostage in order to drone today's 'lesson' as long as possible. We all know patriarchal windbags like this guy, and Cole just runs with it and scores a touchdown.
Also of note is Jennifer Elise Cox, who gives her Jan Brady a wicked, almost psychotic spin as the middle sister who tries so hard to be an upbeat Brady and smothers her rage over the blatant favouritism shown to vain airhead Marcia (Christine Taylor, a near dead ringer for Maureen McCormick).
Watch out for cameos of icons from the 70s - to reveal more would ruin the fun of discovering them for yourself.
January 07, 2012
THE KING'S SPEECH (2010)
* * * *
D: Tom Hooper. (Colin Firth, Geoffrey Rush, Helena Bonham Carter)
PG-13 (for language), C-118m, UK/Australia
In this terrific film, Colin Firth delivers one of his finest performances as Prince Albert (formally known as King George IV), who reluctantly assumes the mantle of monarchy after older brother King Edward gives up the crown to marry American divorcee Wallis Simpson.
Even before that famous scandal, Albert still has to make speeches at public events. He has no desire for public life and only wishes to be left alone with his wife and daughters. Unfortunately, being a member of the royal family has its obligations.
It's painful to watch, because up close he is physically ill, actually choking. His audience waits for the halting words (which come out as the strangled sounds of a chicken), then looks away in embarrassment. All I could think was, "You poor, poor man."
In this and other similar scenes, Albert is not simply a historical figure, but a human being in dire need of rescue. When his wife Elizabeth (the future Queen Mother of England) tries to help, it doesn't go smoothly. She seeks out the services of Lionel Logue (Geoffrey Rush), a part-time actor who tutors clients in his own home. She comes to his "office" as "Mrs. Johnson", so he has no idea who she is.
Elizabeth explains, "My husband's work involves a great deal of public speaking."
"Then he should change jobs," Logue retorts.
"He can't."
"What is he, an indentured servant?"
"Something like that."
Burdened by a near-lifelong stammer, Bertie is absolutely terrified of public speaking. Watching the agony in Bertie's face as he practically chokes on his words will bring back memories of all those bored, amused or pitying gazes we all endured at one time or another. His closest relationships were with nannies (except for particularly monstrous one) and his wife and two young daughters Elizabeth and Margaret. It's a miracle he even got married.
The chilly household makes the defection of King Edward somewhat understandable, especially in a scene that should have had the family holding each other. Imagine, having no real friends -- only paid companions. Having to control your emotions all the time, even in the privacy of your own home. Dressing for formal meals every day. Your leisure time is carefully controlled and regulated. No vacation from duty. With the exception of small moments between Albert and his wife and daughters, there is no outward affection. This family is not one who shared emotions or even supported each other in private. What a lonely existence!
Helena Bonham-Carter is wonderful here. She takes what could have been a dull spousal role and invests it with warmth and humour. She gently pushes Albert to do what he must without nagging or cruelty, unlike the rest of the family. There is a lovely moment in when they joke around in their car, like any other husband and wife, just being silly.
The relationship between Lionel Logue and his reluctant pupil is fascinating. We see the beginnings of a prickly relationship hampered by clashing personalities and different social classes. Bertie is still a prisoner of his upbringing, even when Lionel uses unconventional methods to convince him that within the walls of his office, he is safe from judgment and ridicule. Lionel has a secret that could lose the trust of his student, and a possible friend.
In a way, it reminds me of Annie Sullivan and Helen Keller. Theirs was a similar relationship between two people who met as teacher and student, then became lifelong friends. Like Helen Keller, Albert needed a dedicated teacher to bring out his potential, as well as build his confidence to become the leader that England needed at a time of crisis. It is also a beautiful portrait of male friendship. Highly recommended.
D: Tom Hooper. (Colin Firth, Geoffrey Rush, Helena Bonham Carter)
PG-13 (for language), C-118m, UK/Australia
In this terrific film, Colin Firth delivers one of his finest performances as Prince Albert (formally known as King George IV), who reluctantly assumes the mantle of monarchy after older brother King Edward gives up the crown to marry American divorcee Wallis Simpson.
Even before that famous scandal, Albert still has to make speeches at public events. He has no desire for public life and only wishes to be left alone with his wife and daughters. Unfortunately, being a member of the royal family has its obligations.
It's painful to watch, because up close he is physically ill, actually choking. His audience waits for the halting words (which come out as the strangled sounds of a chicken), then looks away in embarrassment. All I could think was, "You poor, poor man."
In this and other similar scenes, Albert is not simply a historical figure, but a human being in dire need of rescue. When his wife Elizabeth (the future Queen Mother of England) tries to help, it doesn't go smoothly. She seeks out the services of Lionel Logue (Geoffrey Rush), a part-time actor who tutors clients in his own home. She comes to his "office" as "Mrs. Johnson", so he has no idea who she is.
Elizabeth explains, "My husband's work involves a great deal of public speaking."
"Then he should change jobs," Logue retorts.
"He can't."
"What is he, an indentured servant?"
"Something like that."
Burdened by a near-lifelong stammer, Bertie is absolutely terrified of public speaking. Watching the agony in Bertie's face as he practically chokes on his words will bring back memories of all those bored, amused or pitying gazes we all endured at one time or another. His closest relationships were with nannies (except for particularly monstrous one) and his wife and two young daughters Elizabeth and Margaret. It's a miracle he even got married.
The chilly household makes the defection of King Edward somewhat understandable, especially in a scene that should have had the family holding each other. Imagine, having no real friends -- only paid companions. Having to control your emotions all the time, even in the privacy of your own home. Dressing for formal meals every day. Your leisure time is carefully controlled and regulated. No vacation from duty. With the exception of small moments between Albert and his wife and daughters, there is no outward affection. This family is not one who shared emotions or even supported each other in private. What a lonely existence!
Helena Bonham-Carter is wonderful here. She takes what could have been a dull spousal role and invests it with warmth and humour. She gently pushes Albert to do what he must without nagging or cruelty, unlike the rest of the family. There is a lovely moment in when they joke around in their car, like any other husband and wife, just being silly.
The relationship between Lionel Logue and his reluctant pupil is fascinating. We see the beginnings of a prickly relationship hampered by clashing personalities and different social classes. Bertie is still a prisoner of his upbringing, even when Lionel uses unconventional methods to convince him that within the walls of his office, he is safe from judgment and ridicule. Lionel has a secret that could lose the trust of his student, and a possible friend.
In a way, it reminds me of Annie Sullivan and Helen Keller. Theirs was a similar relationship between two people who met as teacher and student, then became lifelong friends. Like Helen Keller, Albert needed a dedicated teacher to bring out his potential, as well as build his confidence to become the leader that England needed at a time of crisis. It is also a beautiful portrait of male friendship. Highly recommended.
January 02, 2012
BEACHES (1988)
* * 1/2
D: Garry Marshall (Bette Midler, Barbara Hershey, John Heard, Mayim Bialik)
PG, C-123m, USA
Tagline: The Friendship You'll Always Remember... In The Film You'll Never Forget
A thirty-year friendship begins at the beach, when rich kid Hillary Whitney meets child performer Cecilia Carol "CC" Bloom (by the excellent Mayim Bialick, who later became well-known for her role as the title character of the 1980s Blossom, and currently played the hilariously off-putting Amy Farrah Fowler in the comedy hit The Big Bang Theory). The girls live in different states, but faithfully write to each other well into their early twenties.
When they grow up and meet again, CC (Midler) is living in a dumpy apartment, delivering singing telegrams in a bunny suit between auditions. Hillary Whitney Essex (Hershey), now an uptight WASPy lawyer, has given up her pampered life to find her own path. Over the next decade, they bond, eat ice cream, have facials, and get to know each other even better, which may not have been the best idea. As life progresses, the girls grow and change. Hillary tries to be open-minded, but can't quite shake her snobbish upbringing. CC is to the point of obnoxiousness -- though her mother Leona (Lainie Kazan, who hilariously plays the interfering Jewish mother stereotype to the hilt) is far more abrasive. One scene stands out in my mind. Years later, Leona dials down the shrieking harpy routine in a scene where she tells her daughter her true feelings about her. It's painful to watch, and my heart broke a little.
Despite her rather oversized ego, CC is insecure about her looks, and constantly asks for reassurance about her talent. Her need for validation is exhausting for her family and friends, but understandable. There's a vulnerability under the tough showgirl exterior. It doesn't help when the more conventionally attractive Hillary is standing right next to her when she tries to flirt with a handsome stage director (blandly played by John Heard). They compete for the same man, but as soon as they talk it over, other problems arise, mostly stemming from class differences and jealousy of the other's qualities. CC is jealous of Hillary's beauty and intelligence, and even when she succeeds and earns her own fortune, she still has more money than class. Hillary is jealous of CC's talent and brash confidence, as it makes her extremely conscious of her own timidity of life. Through no fault of her own, she becomes a pretentious snob, thanks to her marriage to a humourless attorney who expects her to give up her practice to become a corporate wife. An argument in a Bloomingdale's department store takes an ugly turn, testing a friendship that was fragile to begin with.
To be honest, I have a problem believing in their friendship. They met once. They never grew up together -- so naturally reuniting in person as adults would be quite a shock. No shared school or camp experiences, which can bridge even the most different of backgrounds. Not even prison. They have nothing in common. Neither is particularly likable. The men in their lives are about as exciting as dry toast, so it is hard to care about their romances. Much of the viewer's enjoyment depends their tolerance of the CC Bloom character. Midler also co-produced the movie, and seemed to get the best lines and more screen time. She's a talented singer, but a little of her goes a long way. Both are terrific actresses, but I prefer them in other movies. They are both better than the material.
Beaches has a devoted fan base, but it's not for people who hate romantic comedies or "chick flicks". I don't generally enjoy this kind of film, but I'm glad I finally saw it. Lovers of Terms of Endearment (1983) and similar weepies will enjoy it. Personally, I thought it was too long and needed to edited - a half-hour trim would have helped a lot. There is a point in the third act when it would have been wise to end and roll credits, but it goes on for several more scenes. Director Garry Marshall likes to milk what are supposed to be emotional, heart-wrenching scenes, when it would be more effective to simply end as it began -- at the beach.
D: Garry Marshall (Bette Midler, Barbara Hershey, John Heard, Mayim Bialik)
PG, C-123m, USA
Tagline: The Friendship You'll Always Remember... In The Film You'll Never Forget
A thirty-year friendship begins at the beach, when rich kid Hillary Whitney meets child performer Cecilia Carol "CC" Bloom (by the excellent Mayim Bialick, who later became well-known for her role as the title character of the 1980s Blossom, and currently played the hilariously off-putting Amy Farrah Fowler in the comedy hit The Big Bang Theory). The girls live in different states, but faithfully write to each other well into their early twenties.
When they grow up and meet again, CC (Midler) is living in a dumpy apartment, delivering singing telegrams in a bunny suit between auditions. Hillary Whitney Essex (Hershey), now an uptight WASPy lawyer, has given up her pampered life to find her own path. Over the next decade, they bond, eat ice cream, have facials, and get to know each other even better, which may not have been the best idea. As life progresses, the girls grow and change. Hillary tries to be open-minded, but can't quite shake her snobbish upbringing. CC is to the point of obnoxiousness -- though her mother Leona (Lainie Kazan, who hilariously plays the interfering Jewish mother stereotype to the hilt) is far more abrasive. One scene stands out in my mind. Years later, Leona dials down the shrieking harpy routine in a scene where she tells her daughter her true feelings about her. It's painful to watch, and my heart broke a little.
Despite her rather oversized ego, CC is insecure about her looks, and constantly asks for reassurance about her talent. Her need for validation is exhausting for her family and friends, but understandable. There's a vulnerability under the tough showgirl exterior. It doesn't help when the more conventionally attractive Hillary is standing right next to her when she tries to flirt with a handsome stage director (blandly played by John Heard). They compete for the same man, but as soon as they talk it over, other problems arise, mostly stemming from class differences and jealousy of the other's qualities. CC is jealous of Hillary's beauty and intelligence, and even when she succeeds and earns her own fortune, she still has more money than class. Hillary is jealous of CC's talent and brash confidence, as it makes her extremely conscious of her own timidity of life. Through no fault of her own, she becomes a pretentious snob, thanks to her marriage to a humourless attorney who expects her to give up her practice to become a corporate wife. An argument in a Bloomingdale's department store takes an ugly turn, testing a friendship that was fragile to begin with.
To be honest, I have a problem believing in their friendship. They met once. They never grew up together -- so naturally reuniting in person as adults would be quite a shock. No shared school or camp experiences, which can bridge even the most different of backgrounds. Not even prison. They have nothing in common. Neither is particularly likable. The men in their lives are about as exciting as dry toast, so it is hard to care about their romances. Much of the viewer's enjoyment depends their tolerance of the CC Bloom character. Midler also co-produced the movie, and seemed to get the best lines and more screen time. She's a talented singer, but a little of her goes a long way. Both are terrific actresses, but I prefer them in other movies. They are both better than the material.
Beaches has a devoted fan base, but it's not for people who hate romantic comedies or "chick flicks". I don't generally enjoy this kind of film, but I'm glad I finally saw it. Lovers of Terms of Endearment (1983) and similar weepies will enjoy it. Personally, I thought it was too long and needed to edited - a half-hour trim would have helped a lot. There is a point in the third act when it would have been wise to end and roll credits, but it goes on for several more scenes. Director Garry Marshall likes to milk what are supposed to be emotional, heart-wrenching scenes, when it would be more effective to simply end as it began -- at the beach.
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