Classic Movie Review Defending Your Life

Defending Your Life (1991) 

Directed by Albert Brooks 

Written by Albert Brooks 

Starring Albert Brooks, Meryl Streep, Rip Torn, Lee Grant

Release Date March 22nd, 1991

Published November 14th, 2023 

If I could choose what the afterlife looks like, I'd want it to look like the afterlife as presented by Albert Brooks' Defending Your Life. As both an idyllic and, ultimately positive take on life and death, Defending Your Life has a strong philosophical underpinning. The idea is that you go to Judgment City, you defend the life you live, try to prove that you overcame the fears that held you back in your previous life, and if you did, you get to move on to a nebulous afterlife that we can only assume is some kind of unending paradise. 

For all of the meta-gags, the performative pomposity and cluelessness, that marks the Albert Brooks character, Brooks' sincere world building in Defending Your Life is inspired. Brooks plays Daniel Miller, an ad executive who buys a new car and immediately gets himself killed in an accident. Arriving in Judgment City, Daniel thinks he's in heaven. The reality however, is different. No, he's not in hell. Hell doesn't exist in this universe. Judgment City is where one goes to defend the life they lived in hopes of moving on to the next place. 

If you fail, no big deal. If you fail, you just go back to Earth and live another life. You can do this as often as it takes to finally get it right. At a certain point, yes, you may be flung into to the universe with nowhere to go, but that's just for people who've failed a lot and show no interest in moving forward. Nothing to actually worry about. That's what Rip Torn's character, Daniel's advocate in Judgment City, Bob Diamond says with confidence that he's letting you in on a comforting secret that isn't as comforting as he thinks it is. 

Torn is Academy Award level brilliant in the role of Bob Diamond. Bob Diamond will present Daniel's life to a pair of judges who will determine whether or not he overcame his fears enough to be worthy of moving on. Standing opposite Bob and Daniel is Lena Foster (Lee Grant), a shark-like prosecutor who aims to use Daniel's life choices against him to keep him from moving on. In this universe, anything you have ever done has been recorded and is accessible as a video file. To give a sense of fairness, only a specific number of days from your life will be chosen to be looked at. The more days being used in your trial, don't call it a trial, but it's a trial, the harder it can be to move on. 

There is a running gag in Defending Your Life where small talk inevitably leads to people asking Daniel 'how many days' and when he says '9,' the residents of Judgment City each cringe and wish him luck. One kind restaurant owner, upon hearing Daniel say 9 days immediately gifts him dozens of pies. This sounds insane but one of the perks of Judgment City is that its adjacency to Heaven means the food is incredible and you can eat as much of it as you want. That's the kind of perk of the afterlife we can all get behind. 

Daniel's afterlife is changed forever when he meets Julia, one of the few people who died relatively young like himself. They bond as Daniel heckles a terrible comedian at a nightclub. Apparently comedy doesn't get the rub from Heaven as the food does. Julia immediately finds Daniel charming with the easy way he can make her laugh. In Streep's gentle, sweet, and assured comic performance, we can easily see why she would fall for Albert Brooks. She can see his emotional wounds and appears eager to help him heal, both because of her kindness and because she just likes the guy. 

Find my full length review at Geeks.Media 

Albert Brooks Defending My Life

Albert Brooks: Defending My Life (2023) 

Directed by Rob Reiner 

Written by Documentary

Starring Albert Brooks, Rob Reiner 

Release Date November 11th, 2023 

Published October 4th, 2023 

It's rare, if not impossible, to find a consensus funniest person in comedy. That said, the closest one might come to a consensus all time funniest is Albert Brooks. Few in the world of comedy are as widely beloved and respected as the stand up comic turned SNL break out star to filmmaker. Brooks unites a coalition of comedy greats in the opinion that he is wildly funny, influential, and respected. That's clear from the new documentary on Brooks' career called Albert Brooks: Defending My Life. The documentary, directed by Brooks' lifelong friend Rob Reiner is mostly a conversation between the two filmmakers that is occasionally broken up by an all star cast of comedians praising Brooks. 

Oh, and that conversation is occasionally interrupted by some of the most incredible archive footage possible. Reiner, with access to Brooks' vast catalogue of comedy dating back to the late 60s and early 70s, unearths some absolute gems. Brooks was a hardworking comic and made appearances on any variety show that would have him. He soon became a beloved talk show guest, performing stand up routines unlike any comic on the planet, true comedic art projects that Brooks pulled off the top of his brilliant comic imagination. Though known today as a remarkable writer, Brooks' approach to the medium of stand up was freeform and completely unpredictable. 

Even before he became a celebrity, Brooks was beloved and ballyhooed in comedy circles. While attending High School alongside Rob Reiner, Rob's dad, Carl, saw Brooks perform at a school talent show. Brooks recounts the bit he did, one fitting of his off the cuff comedy style, and how it left Carl Reiner, then one of the most beloved minds in comedy, rolling in the aisles. So impressed was Carl Reiner that when he appeared on the Steve Allen Show, shortly after seeing Brooks perform, and before the rest of the world had heard of Brooks, Reiner called Albert the funniest guy he's ever seen. 

That's remarkable praise coming from a man who counts Dick Van Dyke and Mel Brooks as his closest friends. That's also a testament to the power of Albert Brooks, a witty guy who is not above turning himself into a spectacle for a laugh. The opening of the documentary features a routine in which a sullen Brooks lamenting his place in the world of cerebral comedy. He swears that he can be wacky and while holding onto his somber tone, he proceeds to drop his pants and hit himself in the face with a pie, all while demonstrating contempt for physical comedy, it's meta before meta was a thing. Indeed, Brooks is likely THE progenitor of meta comedy. 

Find my full length review at Geeks.Media

Classic Movie Review Real Life

Real Life (1979)

Directed by Albert Brooks 

Written by Albert Brooks, Monica Johnson, Harry Shearer

Starring Albert Brooks, Charles Grodin

Release Date March 2nd, 1979 

Published November 13th, 1979

Real Life requires a little context. In 1972 PBS launched what many consider the very first reality show. American Family was a day in the life series about the Loud Family. The show chronicled the day to day life of an everyday American family. The series was a social experiment and became the progenitor of an industry that is now a staple of American television programming. Real Life is Albert Brooks' response to the phenomenon that was American Family, a reality movie. Brooks meta concept is both a critique of American Family and the notion of cameras being able to capture reality. 

In Real Life, Albert Brooks stars as Albert Brooks, television star and filmmaker. Brooks wants to capture real life in the first ever reality movie. He plans to spend the next year living in Phoenix, Arizona, in a home directly across the street from the family who will star in his reality movie, the Yeager family, headed up by Dad, Warren Yeager, and his deeply depressed wife, Jeanette (Frances Lee McCain). For one year, cameras will follow the Yeager's everywhere as they gather footage for Brooks' documentary. 

And things proceed from there. The social experiment is being monitored by doctors working for a family research firm who have ways of measuring mental health down to examining the way someone holds a mug. From the start, the experiment appears to be a disaster. On the second day of the experiment, after a fight with her idiot husband, Jeanette decides to leave and go stay with friends, leaving the cameras behind. Brooks himself has to go and win her back to the project, though this is fraught with Jeanette believing that Albert is coming on to her, something she's receptive to. 

Read my full length review at Geeks.Media

Movie Review: The Simpson's Movie

The Simpsons Movie (2007) 

Directed by David Silverman

Written by James L. Brooks, Matt Groening, Al Jean 

Starring Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria, Albert Brooks, Tom Hanks, Harry Shearer

Release Date July 27th, 2007

Published July 27th, 2007 

20 years in the making, America's funniest TV family is now on the big screen and funnier than ever. The Simpsons, Homer, Marge, Bart, Lisa and Maggie, have been a dominant force in American pop culture for years now. With the release of their first movie, their place in our cultural history grows in proportion. The Simpsons Movie transcends the small screen not by leaving behind the aspects that made it such a wonderful television enterprise but rather by blowing it up to a new size for a different screen.

That the transfer is so amazingly successful is a testament to the brilliance of the material and the creative minds who have made it so.

The Simpsons Movie finds our hero family in more jeopardy than they have ever faced this side of a Halloween episode. Lake Springfield has been so badly polluted that just one more dumping of chemicals could make it completely toxic. Naturally, that one last dumping would come from Homer Simpson, defying a new city ban on dumping in the lake, Homer drops off a silo full of pig droppings, courtesy of his new pet pig, into the lake and thus sets off an environmental disaster.

The situation in Springfield Lake is so bad that it reaches all the way to Washington D.C where President Arnold Schwarzenegger conspires with the head of the EPA Russ Cargill (the blessed Albert Brooks), to deal with the Springfield problem in ways the President doesn't have to read about. Thus, Springfield is cut off from the outside world by a giant dome dropped over the city. Soon the EPA will launch a plan to destroy the city whole, that is unless the Simpsons can save the day.

That is a very simple description of a plot far more rich than my description. The Simpsons Movie, like the TV show, is rarely about its plot. Rather, the Simpsons thrives on what can be done in and around a particular plot. In this case, the environmental destruction plot offers the opportunity for political humor aimed at both sides of the political spectrum.

Both environmental activists and the political hacks and contractors who thrive on environmental destruction are painted with the same skeptical brush. Admittedly, the creators of The Simpsons Movie have a more liberal perspective, but they do go out of their way to try and be fair and balanced, in the tradition of their sister news network.

The real source of humor in The Simpsons Movie is the Simpson family themselves. The love and exasperation of being a family is what has always been at the heart of America's favorite family and the writers of the Simpsons and now The Simpsons Movie, know how to tap that for big laughs. The deep abiding love the Simpsons have for each other binds them together and opens up wide avenues of humor.

Little moments like Lisa decking Bart after he mocks her crush on an Irish heartthrob or bigger moments like Homer's entreaties to get the family to follow him to a new home in Alaska and the line "I've come to really like you guys", are the kind of familial grace notes that the series has built over the years. There really is nothing they can do that they won't forgive, no matter how outlandish. It is the cartoon's most human and yet broad element.

The Simpsons have made a nearly flawless move from the small screen to the big screen and have begun, what I hope, is a renaissance for america's favorite family. The TV's show's ratings have slipped in the past few years and many long time fans have said the show has lost a step. The Simpsons Movie is proof, that simply isn't the case.

The Simpsons are funnier than ever in The Simpsons Movie. You've got to see it for yourself.

Movie Review My First Mister

My First Mister (2001) 

Directed by Christine Lahti 

Written by Jill Franklyn 

Starring Albert Brooks, Leelee Sobieski, John Goodman, Carole Kane, Michael McKean 

Release Date October 12th, 2001 

Published June 3rd, 2002 

Albert Brooks has been around a long time but yet, he still seems to go unnoticed. The fact is though, Brooks is one of the great comic geniuses in the world. If you've seen his highly underappreciated gems Defending Your Life and The Muse as well as his brilliant guest voice work on the Simpsons, you know what I'm talking about. Brooks is a talented writer who is funny without having to obviously try to be funny. He just is. In My First Mister, Brooks' humor is on display as is his surprising knack for depth and poignancy.

My First Mister stars Leelee Sobieski as Jennifer, a suicidal Goth teen just out of high school and searching for a job. Jennifer's job hunt leads her to Randall (Brooks), the owner of a conservative men’s clothing store. For some strange reason, Jennifer and Randall click and Randall hires her to work in the stock room, and stay off the main floor because he fears her Goth clothes and multiple piercings may frighten his older upscale customers.

As unlikely as these two people are as friends, their connection is believable and the interaction between them is entertaining. They have few things in common, the biggest thing being they both don't have anyone else. Jennifer doesn't get along with her divorced parents (Carol Kane and John Goodman) and Randall has been divorced for 17 years. 

Kane is quite good as Jennifer's much-abused mother who, though she seems like an addled Donna Reed wannabe, is actually just a loving parent at a loss as to how to relate to her emotionally distant daughter. If Kane and the other supporting players (Goodman, Michael McKean and Mary Kay) seem like caricatures it's because we are seeing them through Jennifer’s warped perspective. As the film progresses and Jennifer begins to open up we begin to see these characters as they really are.

First time director Christine Lahti shows a skillful hand in directing two characters whose interactions could seem like a very creepy version of Lolita. Lahti makes sure we know the film isn't about sex or lust but about finding someone who understands you and accepts you for who are. Though towards the end Lahti allows the melodrama to get away from her, the performances of Brooks and Sobieski keep the film from drifting too far off the path.

There is an interesting comparison to be made here between Sobieski and Brooks in this film and Thora Birch and Steve Buscemi in Ghost World. It’s not just the age difference but also the uniqueness of each of the characters and the reasons why they came together. While My First Mister isn't as entertaining as Ghost World, it has the same emotional depth with a slightly less caustic humor. My First Mister isn't the masterwork that Ghost World is,  it is an entertainingly similar work and worth seeing at least once.

Movie Review: Drive

Drive (2011) 

Directed by Nicholas Winding Refn

Written by Nicholas Winding Refn 

Starring Ryan Gosling, Carey Mulligan, Oscar Isaac, Albert Brooks, Bryan Cranston, Christina Hendricks

Release Date September 16th, 2011

Published September 15th, 2011

Ryan Gosling is arguably the best actor working today. His performances in the last year in a diverse slate from the romantic comedy "Crazy, Stupid, Love" to the thriller "All Good Things" to the romantic tragedy "Blue Valentine," have demonstrated Gosling's chameleon-like ability to melt into any role and give life to a variety of fascinating characters.

Gosling's latest performance is arguably his best. "Drive" Stars Ryan Gosling as The Driver. We never learn his name, nor do his unique clients. The Driver spends his days as a Hollywood stunt driver and his nights as a wheelman for high paying criminals. The Driver gives the criminals a five minute window to commit their crime. Within that window he will drive them anywhere and keep them from the cops.

The Driver lives a quiet and very private life making certain not to form relationships or attachments that could imperil his objectivity. Naturally, we know that will change and he does, slowly but surely when he meets Irene (Carey Mulligan). Irene is his neighbor and has a small child that The Driver strikes an immediate friendship with.

The budding romance is cut short with the revelation that Irene's husband/baby daddy Standard (Oscar Isaac) is getting out of prison and coming home. Here, director Nicholas Winding Refn twists our expectations by playing the predictable showdown between The Driver and Standard quietly and thoughtfully.

Gosling betrays The Driver's true feelings for Irene with his eyes but his actions are a different matter. In a departure from his code of non-involvement, The Driver comes to Standard's aid and attempts to get him out from under a debt to criminals who had protected him in prison. This departure by The Driver will prove costly and the rest of plot unfolds from there with an unexpectedly violent flourish. Drive is stunning in its violence, evoking the calculating yet gory viscera of David Cronenberg's "A History of Violence" and "Eastern Promises."

The influences exhibited in "Drive" don't end with Cronenberg. The look and sound of "Drive" evokes the work of writer-director Paul Schrader on "American Gigolo." The neon font of the film titles, the synth soundtrack and the over the shoulder camera position in the driving scenes all evoke Gigolo. Why "American Gigolo?" You'd have to ask director Refn about that; on the surface the two films share little more than the Refn's choice of homage.

Though the influences are obvious "Drive" is far from derivative. The ideas in the film are its own and they are executed with gripping efficiency. Ryan Gosling's acting choices carry weight and intrigue and you can't help but be fascinated by what he will do next. Gosling holds you in thrall as The Driver drifts  further and further into danger.

Gosling is equaled in very different ways by the work of Albert Brooks and Carey Mulligan. You've never thought of Albert Brooks as menacing but you will believe him menacing wielding a knife with fierce efficiency. Carey Mulligan meanwhile, matches the intensity and dangerous charisma of Gosling and Brooks with fragility, beauty and empathy.

"Drive" is a remarkable film, artful, intelligent and gripping. The cast is extraordinary and the direction by Nicholas Winding Refn is superb.