This post is a first. It is my first ever post on an animated movie. After 260+ posts, I had actually to add an animation category under my genres. I have repeatedly said that I wouldn’t review animated films or documentaries (heck, sometimes I don’t know what I can even offer when I review a horror film or a comedy). Still, Charlie Kaufman’s (Synecdoche, New York, screenwriter for Eternal Sunshine of the Spotless Mind) Anomalisa is not your traditional Pixar or Dreamworks animation. And this isn’t really animation. It’s a stop-motion animation, which is entirely different? Well, it is, and it isn’t, I guess. I don’t watch the F/X show Archer or anything on Adult Swim, so I don’t have much of a comparison (if any at all), but Anomalisa was the most adult-oriented animation that I’ve ever seen. It wasn’t adult-oriented in the X-rated sense. I wouldn’t say that there was anything obscene in this movie. It’s just that the themes were very adult-oriented in nature, and you wouldn’t want to be next to a kid while watching this film. Heck, I’m not sure you’d want to be next to anyone during this film. I would not say that I didn’t like this movie. I did expect to like it much more than I did as I kept hearing great things about it. But the two prevailing thoughts that I had while seeing this film were 1) I wanted to like it more than I really did and 2) It was really uncomfortable to watch at times. It is really difficult to recommend this movie.
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Category Archives: Comedy
Irrational Man (2015)
Irrational Man is not a terrible movie. If you are a fan of Woody Allen (Midnight in Paris, Blue Jasmine), there’s no reason why you shouldn’t see this movie, despite its rather lukewarm reviews (42% on Rotten Tomatoes with a 48% audience score). This movie didn’t fare very well at the box office, earning just over $4 million. This movie completely flew under my radar. I cannot recall seeing even a single preview for it until I was scrolling through some selections on my Video On Demand network. The movie intrigued me in the same way Midnight in Paris did. Irrational Man was a movie that I did not think I would love but felt would hold my interest. It is certainly not as good as Midnight in Paris, nor does it claim to be. But there is something about Allen’s work in recent years that has me liking him more since about 2007 than I did in the ’80s and ’90s when he was getting most of his acclaim. I’ve never considered myself a huge fan of his movies. I usually like my humor when it is laugh-out-loud funny, and I want my dramas to be serious, while his films tend to fall into the dark comedy/light drama category. I’m also not huge into light-hearted romances. Thus, I’m probably not in Allen’s usual demographic, which has worked perfectly well for both of us. Yet, starting with Match Point and then with Midnight in Paris and Blue Jasmine, there has been something about him that has convinced me not to write off everything he does before giving it a chance.
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The Intern (2015)
It’s a good feeling when a fading legend proves that he still has something left to give. Robert De Niro (Cape Fear, Taxi Driver) is one of the most accomplished and legendary actors of all time, having earned seven Academy Award nominations for acting, including two wins (The Godfather: Part II, Raging Bull). He has proved that he can be successful across many genres, including drama (The Deer Hunter, Cop Land), comedy (Analyze This, Wag the Dog), action/adventure (Midnight Run, Ronin), and mystery/suspense (Heat, Sleepers) to name a few. He can play some of the most likable characters we’ve ever seen (Leonard Lowe in Awakenings, Jack Byrnes in Meet the Parents) as well as some of the most reprehensible, violent, and hostile characters who we will never forget (Max Cady in Cape Fear, Ace Rothstein in Casino, Al Capone in The Untouchables and many, many more). Unfortunately, he has become (what my friend Tim affectionately refers to) a movie whore in recent years. One can hardly fault him for his work ethic and desire to earn a paycheck, but most of us would be amazed to know that De Niro has made more than 20 films since 2010’s Little Fockers. Only two of these films (Silver Linings Playbook for which he was nominated for a Best Supporting Actor Oscar and Limitless were the only two that earned more than 60% on Rotten Tomatoes). While he was excellent in each of these two films (and pretty terrible in the other 18), Nancy Myers’ (It’s Complicated, Something’s Gotta Give) The Intern reminds us just how endearing and versatile that De Niro can still be. He is a part of cinematic history who people will take about in 50 years the same way that we talk about James Stewart, Humphrey Bogart, Spencer Tracy, and Clark Gable today. Perhaps De Niro will be even more revered because today’s cinema has allowed its actors to portray characters with much fewer restrictions.
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Vacation (2015)
Forget what the critics say (27% on Rotten Tomatoes, IMDB Metascore 34/100). If you like the National Lampoon’s Vacation movies, I think you’ll enjoy the Ed Helms (The Hangover, television’s The Office) led Vacation. It follows the same formula as the other movies in the series, and it has Ed Helms! Ed Helms is one of the funniest men in Hollywood! He took his bit part in the middle half of The Office and made it impossible for the writers not to keep him. With respect to Rainn Wilson, John Krasinski, and Jenna Fischer, The Office became Ed Helms’ show once Steve Carell exited. Even when his movies miss (The Hangover Part III, The Goods: Live Hard, Sell Hard), it’s not because of him. He keeps these terrible movies from becoming complete zeroes. So how good he misses here as a grownup Rusty Griswold with all nuances of his father Clark (Chevy Chase – Spies Like Us, Three Amigos) and his mother Ellen (Beverly D’Angelo – Coal Miner’s Daughter, American History X)? He doesn’t miss at all. Instead, he crushes it in 2015’s comedy of the year.
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Joy (2015)
Joy is the epitome of a very average movie with a standout lead performance. Jennifer Lawrence (Silver Linings Playbook, American Hustle) will most definitely earn her fourth Academy Award nomination (third for Lead Actress) in five years for her role as the title character. Still, she does not have a chance to win. I think she would have had a shot had the movie been better received with critics and audiences, but it likely would not have been enough to knock off favorites Brie Larson (Room), Saoirse Ronan (Brooklyn), or Charlotte Rampling (45 Years). Lawrence and Cate Blanchette (Carol) likely will be the final two nominations, with Carey Mulligan (Suffragette) having an outside chance to spoil.
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