Tag: review

Movie Review: Joy

I was curious whether David O. Russell could pull off a third film with Jennifer Lawrence and Bradley Cooper (and technically, Robert DeNiro).

jennifer-lawrence-as-joyThis is how I ended up seeing the movie Joy. The choices at the Spectrum in Albany, my favorite movie venue, were showing Joy, The Big Short, The Danish Girl, Spotlight, Carol, Brooklyn, and Youth.

Oh, yeah, and some space opera thing that seems to be somewhat popular. I would have seen any of them, though especially Spotlight and The Big Short.

But we weren’t IN Albany, we were in Oneonta, about 75 miles away, on Christmas weekend. The only crossover between the mall theater in Oneonta and the Spectrum was Joy.

I was interested in seeing this movie in part because it was based on the real story of entrepreneur Joy Mangano, who invented a better floor mop. How can that be a compelling story?

Also, I was curious whether David O. Russell could pull off a third film with Jennifer Lawrence and Bradley Cooper (and technically, Robert DeNiro) after they had appeared in Silver Linings Playbook and American Hustle. I’m thinking that it feels somewhat rather like the troop of actors who used to show up in Woody Allen films.

This is a pretty solid 100 minute-film. Unfortunately, it ran 124. There’s a lot of nice bits: real soap opera actresses (Susan Lucci. Donna Mills) as the soap opera that Joy’s mom, Terry (Virginia Madsen), though the joke went on too long. As a business librarian, I found the parts with QVC rather interesting; Melissa Rivers played her mother Joan.

I appreciated the actors, including Édgar Ramírez as Joy’s ex-husband/still friend Tony; Diane Ladd as grandma Mimi, the narrator who seemed to disappear for large portions of the film; and Isabella Rossellini, as Trudy, Joy’s financier and the girlfriend of Rudy (DeNiro). But the character of Joy’s half-sister Peggy (Elisabeth Röhm of Law & Order) is a movie contrivance, unrelentingly negative.

There IS a good film there, I’m convinced, and Jennifer Lawrence carries much of it. But it’s muddled, and the transitions from scene to scene often didn’t work. I’m not quite sure I “believed” the ending. All of that said, I did enjoy it at the moment, though – and this is always a bad sign – I checked my watch 2/3s of the way through.

MOVIE REVIEW: A Ballerina’s Tale

Misty Copeland’s potentially career-ending injury was also a major focus.

A-Ballerinas-Tale-posterI was rather familiar with the story of Misty Copeland, largely from this 60 Minutes clip, about how the ballerina, who didn’t even dance until she was 13, became the first African-American woman to be named principal dancer of the legendary American Ballet Theater.

What was interesting about the documentary A Ballerina’s Tale was less about the dancer herself, and more about the social context of her achievement. It wasn’t just her race but her “muscular” body that had precluded someone who looked like her to be the swan. Her potentially career-ending injury was also a major focus, and she showed tremendous resolve getting through it.

I also enjoyed learning about the history of black ballerinas. Her interaction with the apparently legendary Raven Wilkinson – who I had never heard of – was fascinating, in part because Misty too was learning about her dance roots. A group of successful older black women took Misty Copeland under their wings and helped her feel less alone, and that was touching.

This was a Kickstarter film from Nelson George, who I know best as a writer of the book Hip Hop America, and Where Did Our Love Go?, a book about Motown. Before that, he was a critic of the black music scene for Billboard.

Here is the movie trailer.

A Ballerina’s Tale was playing at the nearby Madison Theatre. We thought the Daughter would want to see it the day before Thanksgiving, but she declined. So the Wife went to the 5 pm show, and I the 7 pm viewing; we were the ONLY persons to watch it, and that was a shame because it was worthwhile.

Yet there’s an arm’s length distancing from the film’s primary subject which made her somehow less compelling. The Variety review says it best: “She’s immensely humble and focused on her goals, which makes her an excellent performer and an equally strong ambassador for dancers of color, but a tougher nut to crack as a documentary subject.”

MOVIE REVIEW: The Martian

What got me was the true optimism of The Martian, a can-do attitude pretty much throughout without being too nerdy.

martian2015-2Despite generally positive reviews for The Martian (93% on Rotten Tomatoes), I was a little worried about watching a long movie (144 minutes) with Matt Damon as an astronaut, after seeing a long movie (166 minutes) LAST year with Matt Damon as an astronaut. That previous film was the nearly impenetrable Interstellar.

Or maybe it’d be an isolating film, like Tom Hanks and a volleyball in Cast Away. Or, since I understand the science of The Martian was reported to be pretty much spot on, based on a very wonkish book, that it might be boring as all get out.

It is none of the above. You’ll laugh out loud! You’ll cry! You’ll believe a man can grow potatoes in an inhospitable environment! You’ll be amazed how appropriate the unlikely soundtrack is; the choice for the end credits is inspired.

The cast is quite excellent, with Jessica Chastain as the astronaut commander who feels guilty, but not depressingly so; Michael Peña (who I saw in Ant-Man) as another astronaut; Jeff Daniels as the politics-balancing NASA administrator; the fascinating Chiwetel Ejiofor, Kristen Wiig, Mackenzie Davis, the surprising Donald Glover, and especially Aksel Hennie as various NASA staff; and Benedict Wong as the overwrought Jet Propulsion Lab guy.

The one really false note was Daniels’ character taking about a small margin for error, followed almost immediately by some problem.

But what got me was the true optimism of The Martian, a can-do attitude pretty much throughout without being too nerdy. Damon’s Watley keeps himself sane by trying to “science the s@#!” out of his resources, countries negotiate how to work together, people around the world sharing a single vision. THAT was what made me teary-eyed in this Ridley Scott film, a united planet when we don’t seem to have it right now. In some way, the politics are more utopian than the science.

I wish The Wife had gone to see this with me Sunday night, as I walked home from the Madison Theatre through the London-like fog.

MOVIE REVIEW: Brooklyn

Brooklyn was the first film The Wife and I saw at the Spectrum Theatre since it was taken over by Landmark Theaters.

brooklyn-movie-saoirse-ronan1The very first time I saw Saorise Ronan on screen in the wonderful The Grand Budapest Hotel (2014), I realized I’d seen her before, as a much younger actress. It’s those eyes. As it turns out, she was in Atonement (2007).

In the movie Brooklyn, though, she is the protagonist Eilis Lacey, a young woman in her native Ireland, who has few prospects in her hometown. Her beloved sister Rose encourages her to leave her and their widowed mother and move to America. Specifically, she’ll live in a certain NYC borough in a boarding house with other, mostly beautiful women, and their crusty but caring landlady (the wonderful Julie Walters).

Eventually, Elias finds love with a plumber named Tony (Emory Cohen). But a tragic turn forces Eilis to deal with changing realizations about her homeland and her own sense of self-worth.

There were only 2 negative reviews at Rotten Tomatoes out of 152. One read: “Wonderful performances but do we really care about a teenager from Ireland trying to decide between guys?” This person is right about their performances but has totally missed the point of this film, which is that leaving home is sometimes exquisitely difficult.

There are LOL moments involving the boarding house dinner table and at Tony’s home. Jessica Paré played Miss Fortini, Eilis’ supervisor at a fancy department store not unlike Macy’s of the 1950s with a nice mix of sternness and compassion. But you may be inclined to hiss at the screen when Brid Brennan’s crotchety Miss Kelly, Elias’ part-time employer in Ireland appears on the screen.

I’m not familiar with the work of director John Crowley, but writer Nick Hornby was executive producer of two films I liked, About a Boy and An Education, and screenwriter for the latter.

Not incidentally, this was the first film The Wife and I saw at the Spectrum Theatre since it was taken over by Landmark Theaters, on Black Friday night. One change: those cards we used to buy, 10 for $80, are now gone, replaced by a booklet one can purchase, 25 tickets for $200. Also, they don’t take Discover, but they do accept American Express.

VIDEO REVIEW: The Wrecking Crew

Some of the extra material was clearly done after 2008

I was old enough to remember when it was “shocking” news that the singing Monkees were not really playing their instruments on those first couple albums, and in fact, weren’t even allowed to. The music was provided by a fairly regular crew of session musicians. They may have been known as The Wrecking Crew, though some dispute the label. It was said the mostly men who had played on sessions in earlier times wore suits and ties, and it was feared that these more casually dressed crew was going to wreck the industry.
wreckingcrewad
In fact, in many ways, they enhanced it. Bassist Carol Kaye sees the written bass line from Sonny and Cher’s And The Beat Goes On and changed it to what we heard on the record. They WERE Herb Alpert’s Tijuana Brass and Phil Spector’s Wall of Sound. They interpreted Brian Wilson’s thoughts, not just on Pet Sounds but on a few earlier albums.

The movie The Wrecking Crew was a labor of love for director Denny Tedesco, whose dad, Tommy, was one of the great Crew guitarists. The first day of shooting brought drummer Hal Blaine (member of the Rock and Roll Hall of Fame), bassist Carol Kaye, saxophonist Plas Johnson and Tommy Tedesco (all of whom should be) together.

Whatever the movie’s value for 90 minutes, and it is considerable, the EXTRAS on the Wrecking Crew DVD, which run over five hours, was often more useful.

There are stories about the legendary Gold Star Studios, the Franks Sinatra and Zappa, and much more. The repeated “I saw her” at the beginning of a chorus of the Mamas and the Papas’ I Saw Her Again was a mistake. Guitarist Don Peake explains how he was saved by Ray Charles in the Deep South. Cher tells about a drunk Leon Russell at a Phil Spector session, a story Leon acknowledges.

Other interviews, some of which made it into the film, included Bill Medley of the Righteous Brothers, Barry McGuire, Jackie DeShannon, the three surviving Monkees, Richard Carpenter of Carpenters, Dean Torrence of Jan and Dean, Petula Clark, plus a lot of musicians, engineers, producers and the like.

The reviews were generally favorable. One critic wondered if all the love Danny Tedesco was hearing about his late father was a result of people telling him to want they want to hear. I can’t answer that, but in the scenes with his colleagues, and by himself, Tommy Tedesco (d. 1997) was a very engaging fellow.

Another critic suggested that this was a rush job; it was anything but that, taking over a decade to finish. It was completed in 2008 but had “been screened only at film festivals, where clearance rights were not required. The film finally saw theatrical release in 2015, after musical rights were cleared.” Some of the extra material was clearly done after 2008; Bill Medley just turned 75, but was 71 at the time of his interview.

Any fan of this era – this means you, Dustbury – should watch this, including the extra material.

Here are links to just a few of the songs that featured The Wrecking Crew.

1962
The Lonely Bull – Herb Alpert & the Tijuana Brass. Herb then went out to find guys to emulate them for the road. This is often the case.
He’s a Rebel – The Crystals. Cher was only 16 when she became a background singer for Phil Spector.

1963
Surf City Jan and Dean. Brian Wilson gave this to the duo, which irritated Murry, Brian’s dad, and the soon-to-be-fired Beach Boys manager.
Be My Baby – The Ronettes

1964
I Get Around – The Beach Boys

1965
Mr. Tambourine Man – The Byrds. Roger McGuinn got to play on the record, but the other band members were furious to be left out. When the band did record, it often took dozens of takes, whereas the Wrecking Crew only needed a handful.
This Diamond Ring – Gary Lewis and the Playboys. The vocals were also doubled by a session singer.
California Dreamin’ – The Mamas & the Papas. This was going to be a Barry McGuire song, but when he heard their background vocals, he changed his mind. Much later, he realized his voice is on the recording.
Eve of Destruction – Barry McGuire
I Got You Babe – Sonny & Cher

1966
No Matter What Shape (Your Stomach’s In) – The T-Bones
Strangers in the Night – Frank Sinatra. Many times, the Crew took only one or two takes to satisfy the Chairman of the Board.
These Boots Are Made for Walkin’ – Nancy Sinatra. The descending line hook was created by a Wrecking Crew member.

1967
Never My Love – The Association. Another song where the band was totally displaced.
Woman, Woman – Gary Puckett and the Union Gap

1968
Wichita Lineman – Glen Campbell. He was a member of the Crew before he became a successful solo artist.
Midnight Confessions – The Grass Roots
Valleri – The Monkees
Classical Gas – Mason Williams

1969
Aquarius/Let the Sunshine In – The 5th Dimension. Billy Davis Jr. of the 5th Dimension lost his wallet, and that led to the “Hair” medley.
The Boxer – Simon & Garfunkel

1970
(They Long to Be) Close to You – The Carpenters. Though Karen was a fine drummer, the music came together when she came out from behind the kit.
I Think I Love You – The Partridge Family

1971
Gypsys, Tramps & Thieves – Cher
Don’t Pull Your Love – Hamilton, Joe Frank & Reynolds

1972
Rockin’ Pneumonia and the Boogie Woogie Flu -Johnny Rivers
Mother and Child Reunion – Paul Simon

1973
All I Know – Art Garfunkel

1974
The Way We Were – Barbra Streisand

1975
Love Will Keep Us Together – the Captain & Tennille