Yes, Blockers. And it wasn’t too bad, despite the requisite stupidity. The nighttime romp spin reminded me of Game Night, but Blockers is the better comedy, with enough sweet charm to give a marginal thumbs-up. 6/10
Lets play a game, of sorts. A guessing game. Why does Mark have a blog? Roger Ebert.com, in no way speaking as Roger Ebert would have, and, further, very much sallying his name, is generally in agreement with the Rotten Tomatoes consensus:
…a raucously funny film that has a knack for going right up to the edge of nastiness.
WRONG! I was actually enjoying Game Night, if mildly, until the latter third or so when it bounced between implausibility and trite stupidity. Lesser critics describe it as edgy; they haven’t any idea what true edginess is.
So what started off nicely in thumbs-up territory devolved into yet another silly pseudo-crime action flick with overly contrived “plot twists” and inane action sequences involving, for instance, airplanes that never get off the ground when attempting takeoff. The best part of the film by far: Jesse Plemons (Fargo season 2) If there is any reason to see Game Night, it is the hilariously creepy Jesse Plemons. 5/10
The piercing eyes – and performance – of Saoirse Ronan keep Lady Bird afloat. The re-tread story, however, hardly sparkles. I was never bored, but neither was I exhilarated. At a short running time of 94 minutes, the film felt much longer. 6/10
Lost in Paris: a bit as if Wes Anderson made a Charlie Chaplin movie. Delightful, charming, and fun, but never enough to thoroughly sink your teeth into. Of note: the French title is Paris pieds nus, which translates most directly as “Paris, feet naked,” or “Barefoot in Paris”. I think a more appropriate title than the one the marketers ended up pandering with. 7/10
With Ray Romano, I was afraid The Big Sick would be little more than a double-episode of Parenthood. But then I liked Parenthood, so maybe that wouldn’t be so bad. And it wasn’t. 7/10
Comparison Notes: Terms of Endearment
I had a number of observations watching Café Society, a few of which apply to a wide swath of the latter-era Woody Allen oeuvre:
1) Mapping as a Woody Allen thought experiment. You can think of any WA movie as any other WA movie mapped onto a [fill in the blank] setting. That is to say, it’s as if WA is thinking, “I want to make a movie with this setting, and that thematic element, how do I do it? Is this new movie going to be with cyborgs? CIA spies? No. This is going to be a Woody Allen picture, just set differently.”
As with Irrational Man, in the early going especially it can seem contrived. But then — quickly — it all begins to gel. I look forward to WA’s annual offering because of that special feeling you get with his films, but more broadly, it doesn’t matter if his latest film seems like a bit of a re-tread, a mapping of some other of his movies onto this year’s dinner table. With a WA film, you’re automatically guaranteed to be transported to a whole different ballpark, one that so many lesser filmmakers can only dream of entering. And that’s why he always attracts the biggest A-list stars.
2) Café Society, and so many of his films, are modern Shakespeare comedy. Were Shakespeare around today, I don’t think he would find a WA picture alien in the least. To my admittedly limited knowledge, Shakespeare did not engage in plots any more complicated than those of Woody Allen. And it’s a delight when things are kept just complicated enough. There’s no beating around the bush in Shakespeare, nor WA.
4) I guessed that Harvey Keitel was the narrator — boy was I wrong. It’s Woody Allen himself! His voice was much deeper than I usually think of it.
I am often annoyed by narration in film, as with WA’s Vicky Christina Barcelona. But it works here.
5) There may be glitches here and there in WA’s mapping. For instance, “Thanks for the heads up” I believe to be an anachronism. Also, WA’s Jewish jokes seem a little out of place to me, which luckily doesn’t make them any less funny or effective. Just classic WA humor, no matter where it’s mapped.
6) Amazon Studios. An idea was posited that if Apple really wants to get serious about content creation, she should buy Netflix. I’m not sure about that idea, nor about the idea of Apple creating content. The Pixar lineage is there, though. Any case, I have mixed feelings. I suppose content creation is important, so if it makes sense, then as a stockholder I say go for it.
7) It all works. In the end, Woody Allen is quite brilliant, and that shines through even his lesser offerings. Café Society is fun and engaging, despite any glitches. 7/10