Category: Reviews (Page 29 of 120)

Mad Men 3.11 – And Who Are YOU Supposed To Be?

First things first: my thanks to Bob Westal for ably filling my shoes last week while I was in the UK. Alas, I was so busy covering the press junket for “Pirate Radio” that I wasn’t able to hunt down the home office of Putnam, Powell, and Lowe. Oh, well, maybe next time…

Betty is packing her bags when the episode begins. Will it prove to be prophetic…? We’ll see, but it certainly doesn’t seem to bode well that A) she and the kids are heading off for a week at her dad’s old place, and B) her last moments with Don involve him…well, not so much lying to her face about his stash o’ cash as unabashedly avoiding giving an answer when she asks if he has any money lying around. But, even so, you can tell she’s still damned well pissed at him, and given all of the confusing information that she’s found out about him through the contents of the drawer, you can’t blame her.

We meet Annabelle Mathis, heiress to a fortune in dog food as a result of her husband’s unfortunately demise at the age of 51…and, boy, the look Roger cut to Don when he was lighting up just as Annabelle was revealing that her husband had died of lung cancer was priceless. Don’s given the opportunity to take a shot at the campaign (apparently, Sterling-Cooper used to have their business, but, per Bert Cooper, “Her father was a son of a bitch”), just so long as he follows two cardinal rules: don’t change the recipe and don’t change the name. What’s the connection between Roger and Annabelle? Well, there was clearly a relationship of some sort back in the day. At first, it sounded like an extra-martial affair, since she asked him if he’s still married, but it’s later revealed that their coupling was quite some time in the past…not that either one of them has forgotten it. It’s to Roger’s credit that, despite the amount of alcohol in his system, he still doesn’t take advantage of the opportunity for post-dinner entertainment that Annabelle offers him.

Speaking of Roger’s extra-marital affairs, Joan is trying to help her husband prepare for job interviews, and in the process, she learns that his father had a nervous breakdown. Somehow, that stands to reason. The next day, she decides to call Roger and, although she won’t ask him for her old job back, she’s not above asking him for assistance in finding a new gig. The two of them have a nice, flirtatious conversation that harks back to earlier seasons, making for one of the most pleasant scenes of the episode, and although it doesn’t entirely pay off for Joan yet, Roger does indeed start making calls on her behalf. Things don’t go nearly as well for Dr. Greg, however, who promptly does an emotional bellyflop during his interview, then comes home and takes his annoyance out on his wife. She, however, responds in turn, clocking him over the head with a vase and leaving him to pick up the resulting broken glass by his damned self. “Oh, shit,” indeed. You go, Joan. But by episode’s end, we’re left wondering if maybe she gave him a concussion, as he returns home to tell her that he’s joined the Army. Just the mention of Vietnam and the throwaway line when he references it, saying, “If that’s still going on…” is a sure sign that he’ll be going over there and probably never coming back.

The dog food test for Calcott Farms goes so horribly bad, with the participants immediately recognizing the name, that Don orders Peggy to turn it off, leading to one of the funniest lines in the episode: “I can’t turn it off. It’s actually happening!” And then…

Oh, but you don’t want to hear any more about this stuff, do you? Let’s get to the real meat and potatoes of the episode: Don and Betty.

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If it’s Tuesday night, it must be movie odds and ends

* This year’s Oscar producers have been named: choreographer turned critically-hated film director turned “Hairspray” wunderkind Adam Shankman and industry mainstay Bill Mechanic. Nikki Finke is happy and, really, isn’t that all that matters? That’s not the only gig for Shankman, who will also be directing the film version of the eighties-centric hair-band musical “Rock of Ages.” I’ve run across one or two hair bands I don’t completely hate, but this does not excite me. The period juke box musical I’m waiting for features Elvis Costello, the Clash, X, and maybe some early Ben Folds. I’ll call mine “Clubland.”

* Anne Thompson rakes the muck on the Hollywood Film Festival. Fascinating. I have my doubts about L.A. ever getting a really world-class festival, and this one sure doesn’t seem to be helping.

Zombieland with Jesse Eisenberg* I caught up with “Zombieland” last night and managed not to become overly upset at the gore. (I have this whole issue with excess blood and ick, yet also like the kind of stuff that sometimes features excess blood and ick — it’s a conflict.) Still, I don’t know if I’ll ever truly understand why people enjoy being disgusted. I find being disgusted disgusting.

Otherwise, it was nicely paced, slightly poignant, and very funny, thanks to a nice and cleverly profane dialogue, decent writing, and a good cast. Unlike Bullz-Eye’s David Medsker, however, I found the movie enjoyable but a little thin, especially during the second half. Some of the most ballyhooed aspects (the superstar cameo, which Dave didn’t love either) were less hilarious than I expected, however. I’m surprised we haven’t heard about a sequel yet as in some ways plays more like a well-produced TV pilot than anything else.

* Not that he hasn’t earned the right to be astonishingly wealthy as much as any human can, but how rich must Steven Spielberg be? I mean, if someone owed you a few hundred million bucks would you be all, like, “ah, that’s okay — you can wait until 2017. Just give me a 5.25% share of your income. I’ll be cool.” And, according to La Finke, the language of the contract refers to him as “Steven.” I know Hollywood loves first names, but it’s a contract. Aren’t those supposed to be formal?

* It’s not really movie news at this point, but speaking of musicals this musical lover never asked for, the Bono/Edge Spiderman musical directed by Julie Taymor continues to gasp. Personally, I’ve had my curiosity about a “Spiderman” musical sated already. Much as I love cocktail lounges and the song “Fever,” this was not a high point.

Mad Men 3.10 – If you want to send a message…

Believe it or not, Will Harris has made a quick jump across the pond to the UK on a super secret mission of entertainment reportage this week. No word if he’ll be in communications with the 21st century descendants of Saint John Powell, Lane Pryce, and the rest of Sterling Cooper’s British overlords. As a result, however, I’m allowed one more whack at this whole “Mad Men” recap thing this week.

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So…Don’s lies are becoming more transparent than ever. He arrives for dinner one night and is dutifully given his drink by Betty. She asks him if he’ll be sleeping at home and the answer is no. More work he says. Betty simply accepts that he commuted all the way from Manhattan to Connecticut, only to return to the office later on. This is apparently a regular thing these days.

Soon Don is in bed with the alluring Suzanne Farrell, lest we forget, daughter Sally’s teacher. This episode is entitled “The Color Blue,” and they have a discussion about a boy in her class who wonders if the blue that he sees is the same blue that everyone else sees. She told the boy honestly that she didn’t know. Don’s answer is, not surprisingly, a lot more cynical. Some of us might see something different, but we’d rather keep the differences to ourselves. I wonder what Don will think of the “do your own thing” meme coming a few years down the road.

At work, presumably the next day, Don complains that a commercial being staged for him has a pause in it that will ruin the impact. Peggy Olson, who was playing the lead role in the dramatization, comes up with a simple and effective way to streamline the commercial. Don’s happy and Peggy’s happy. Paul Kinsey, who dreamed up the initial version, is not and goes into full whine mode. It’s not pretty.

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Easy Virtue

Easy Virtue

Today we associate multi-talented playwright Noël Coward with witty repartee, a forgiving view of sexual peccadilloes, twenties pop standards by Cole Porter and Coward himself, and the heavy use of cocktails. The play, “Easy Virtue,” about a country household thrown into chaos when the family’s only son impetuously marries an American woman with a shadowy past, however, was a melodrama and the 1928 silent film version was directed by the none other than a young Alfred Hitchcock. 81 years later, Australian director Stephen Elliott (“The Adventures of Priscilla, Queen of the Desert”) and co-writer Sheridan Jobbins have taken a very different tack, modified the plot, and turned the drama into a mostly comedic confection filled with witty repartee, a forgiving view of sexual peccadilloes, the music of Coward, Porter and, er, Tom Jones and Billy Ocean, and the heavy use of champagne and wine — but hardly any martinis.

Elliott does a good enough job finding the material’s comedic possibilities, but his style doesn’t quite fit and he gets into trouble when he indulges in some annoying Baz Luhrmann-esque musical/stylistic flourishes. Still, the main problem here is that, while Colin Firth as the family’s alienated patriarch and Kristin Scott Thomas as the repressed mother do first rate work, and Ben Barnes (a.k.a. “Prince Caspian”) is able as the young husband, Jessica Biel, in the crucial role of the extremely non-ugly American, barely registers. Her colorless performance tips the film over the edge of being an enjoyable diversion and into mediocrity.

Click to buy “Easy Virtue”

Wild paranormal law-abiding stepdads to rule box office, almost for sure

Where the Wild Things Are

If you’re craving variety and unpredictability in your movie weekend, then this weekend is for you. Still, most of the smart money seems to agree that the week’s likely fiscal winner is Spike Jonze’s new PG-rated adaptation of Maurice Sendak’s multi-layered picture book classic, “Where the Wild Things Are.”  The family film boasts an outstanding cast, both onscreen and as voice talent, including Catherine Keener, James Gandolfini, Lauren Ambrose, and Forest Whitaker. It’s also got a director synonymous with high-quality and not-quite-mainstream fare and its hep cred is further bolstered by the name of bestselling author and McSweeney’s founder Dave Eggers on the screenplay. Best of all, commercially speaking, it’s based on a book that’s been read and loved by practically everyone. All told, it seems like a canny blending of mainstream recognition, family appeal, and more than a dash of arthouse appeal, but therein may lie the difficulty.

This is a film that really should bit a big hit with critics, and its advertising certainly sells the film’s visual beauty — always a plus with cinephile critics. However, it turns out our David Medskar’s very mild 3/5 star review is pretty typical of the critical reaction. Rating a good-but-not-great 68% Fresh on the Rotten Tomatoes scoreboard, critics are expressing sentiments similar to Dave, who found it “lacking in terms of emotional weight.” Since emotional weight — laughter and tears, etc. — not arresting filmmaking technique — is what most people are looking for at the movies, you have to wonder about whether the film will show any legs over the long term. Still, jolly Carl DiOrio’s prediction of a $25-30 million dollar weekend seems more than reasonable given the audience’s voracious appetite for strong family films with cross-generational appeal. On the other hand, Disney’s decision to extend the run of the 3-D double bill of “Toy Story” and “Toy Story 2” could cut into the “Wild” numbers just a bit with a terrific package of tried-and-true family fair bolstered by the appeal of 3-D.

Gerard Butler and Jamey Foxx in
For some decidedly non-kid-friendly fair, Director F. Gary Gray and writer Kurt Wimmer’s “Law Abiding Citizen” boasts two more or less A-list leads as Jamie Foxx portrays as a careerist D.A. pitted against against tragedy stricken family man turned imprisoned vigilante serial killer played by Gerard Butler. I think Butler has starred in like 200 million mainstream movies this year. None of those movies has been a hit with the critics so far, and “Citizen” is no exception.

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