Seriously, the stars are aligned for Amy Schumer right now and nothing I could write about her Judd Apatow directed movie, Trainwreck, will change anyone’s mind about this thing. So get ready for some free-blogging as I just spew out my thoughts.
1. Amy Schumer is hilarious (although am I the only one who thinks her usually spot-on and delightfully satirical Comedy Central show derailed into absurdist raunchy boredom the last few episodes this season?). As the author of her own star-vehicle, she provides herself material in Trainwreck that proves she can act, too. I just have to wonder, though…what’s next for her? Will she end up getting typecast?
2. The first hour or so of the movie is episodic, raunchy, edgy, full of great lines, and riotously awkward moments as we watch Amy stumble through her love life and job at a men’s magazine until she meets a sports doctor (Bill Hader, good at playing the straight man to Schumer’s shtick) who changes her view on everything. And the fact that all that funny, edgy stuff leads into the “we’ve seen this a thousand times” romantic comedy garbage is what makes the film so frustrating. The last 45 minutes are an actual trainwreck of storytelling ping-ponging from comedy to pathos with little sense of making any meaning out of it beyond the “we can see it from a mile away” denoument. Continue reading →
There’s a truly fantastic scene about half-way through Craig Johnson’s dramedy, The Skeleton Twins, where Bill Hader and Kristen Wiig lip-synch to Starship’s hilariously 80’s anthem, “Nothing’s Gonna Stop Us Now.” It’s been highlighted ad nauseam in the TV spots for the film, but it’s even more dynamic and infectious on the big screen. Its almost painfully prolonged unfolding is built upon the rising tension of Wiig’s character being supremely pissed off right now and refusing to play along with her brother’s antics until that moment comes where she just can’t take it anymore and has to join the insanity. The look on Wiig’s face as she reluctantly (yet deep down so happily) mouths the lyrics, “Let them say we’re crazy…” is a perfect moment for this gifted actress inside a wildly imperfect film. Hader, likewise, is borderline idiot genius with his mannerisms and body language. It’s a shame then that writer-director Craig Johnson saddles them with such obvious clichés.
The dysfunctional sister-brother relationship dramedy has long been the bastion of many an indie filmmaker. Most of these films star Laura Linney (think You Can Count on Me, or probably the ultimate example of this sub-genre, The Savages). Wiig is an interesting substitute for Linney, as the comedic actress has never been allowed to go dramatic before, but with such a great built-in chemistry with Hader (who is most beloved as SNL’s Stefon, the worst NYC tour guide EVER) the two click whether they’re lip-synching to bad music or revealing devastating secrets to each other. Continue reading →
Ned Benson’s somber relationship drama, The Disappearance of Eleanor Rigby, is not a mystery despite the title, though it’s plenty puzzling. The version reviewed here, Them, is an edited combination of what was originally two separate films, Him and Her. It flips back and forth between our two players Conor (James McAvoy, donning an unconvincing American accent) and Eleanor (Jessica Chastain, all pale grief and feigned smiles) as their marriage disintegrates, but it never plays its gimmick out with the obvious one scene played twice from different points of view gag. That may have actually made the film a bit more interesting, though it would’ve also added to the film’s already burdensome two-hour-plus runtime.
After surviving a leap from a bridge, Eleanor moves back in with her parents (William Hurt as the stereotypical soft-spoken bearded professor and Isabelle Huppert as a drunk French former violinist) and single-mom sister (a likable Jess Weixler, who it would’ve been nice to learn more about), while taking a class on the theory of identity taught by a bitter but wise woman (Viola Davis). Meanwhile, Conor is moping around his failing restaurant, lashing out at customers and his best friend/chef (Bill Hader) and moves back in with his recently thrice divorced and overly philosophical father (Ciaran Hinds, always good). Slowly but surely we find out the real reason behind the break-up and their decent into the spiral of grief (hint: it’s not just about losing each other), and it is indeed tragic and hangs a pall over the whole family, not just our protagonists.
The film is filled with talking it out and philosophical ponderings espoused by really good performers. In lesser acting hands, the film would’ve been an outright mess. The characters speak dialogue sincerely as if read from discarded Felicity-era WB melodramas and self-help books.