Movie Review The Holdovers

The Holdovers (2023) 

Directed by Alexander Payne 

Written by David Hemingson 

Starring Paul Giamatti, Dominic Sessa, Da'Vine Joy Randolph 

Release Date October 27th, 2023 

Published November 20th, 2023 

The Holdovers is the story of three people trying to avoid discomfort, sadness, and reminders of grief and loss. It's a story that patiently and comically lays out the case that avoiding life is as painful or more painful than risking pain or sadness in the pursuit of something good. The trio of main characters in The Holdovers are cut off from the world physically and, more importantly, metaphorically as they'd like to avoid discomfort or wish that they could shape the world to what they want it to be. They will each learn that the world doesn't conform to anyone's will and that hiding from the world is not the answer. 

Paul Hunham, a perfectly rumpled Paul Giamatti, is the most hated teacher at Barden Academy, a private school for very, very, rich boys. Hunham is openly contemptuous and hostile toward students who don't appear to take their learning as seriously as he does. Hunham doesn't appear to enjoy many things but he does relish openly insulting students who fail to meet his standard of excellence in learning. Oh but, Paul's contempt is not reserved for just the lesser students in his class. He has hate for school staff, fellow teachers, and for his boss, a former student of his who can't understand how Paul has remained at the school considering how miserable Paul appears to be at all times. 

The plot of The Holdovers kicks in when one of Paul's fellow teachers schemes his way out of staying at the school for the winter/Christmas break. Thus, the duty of staying behind at the school and supervising kids left behind by parents and guardians, falls to Paul. Admittedly, Paul was going to be at the school during the break anyway, he doesn't have a life or home away from Barton. Monitoring the holdover students will also allow Paul to indulge in his dictatorial style of teaching even during a time when students are supposed to be on a break. 

There are five students this year who have nowhere to go for the holidays. Among the five is Angus Tully (Dominic Sessa), a brilliant young man haunted by the ghost of his father. The other four students are soon shuffled off to a convenient trip with a generous parent but Angus is stuck as his mother is refusing to respond to repeated calls. Thus, we end up with Paul, Angus, and the school's head cook, Mary Lamb (Da'Vine Joy Randolph). Mary is grieving the loss of her son who was killed in Vietnam not long before the setting of this story in December of 1970. 

Find my full length review at Geeks.Media

Classic Movie Review Jurassic Park 3

Jurassic Park 3 (2001) 

Directed by Joe Johnston 

Written by Peter Buchman, Alexander Payne, Jim Taylor 

Starring Sam Neill, Tea Leoni, William H. Macy, Alessandro Nivola 

Release Date July 18th, 2001 

Published June 14th, 2023 

After having compromised to make arguably the worst movie of his remarkable career, The Lost World Jurassic Park, Steven Spielberg was finally ready to leave the dinosaurs behind. There was no amount of money that studio executives could promise Spielberg in order to get him back in the director's chair for Jurassic Park 3. That said, staying on as Executive Producer, and retaining his lucrative back end deal, Spielberg did have a hand in choosing his directorial successor. 

Joe Johnston is a long time friend and collaborator of Steven Spielberg and happened to be coming off a pair of well liked and successful films, the 1995 blockbuster, Jumanji, and the critically beloved 1999 drama, October Sky. That plus having worked behind the scenes on each of the previous Jurassic Park movies made Johnston the most natural choice to pick up the reigns on the popular franchise. With Johnston came a new writing team for Jurassic Park 3. Out was writer David Koepp and in was the unlikely duo of Alexander Payne and Jim Taylor, fresh off the success of very non-Jurassic Park indie hits Citizen Ruth and Election. 

It's strange to think that Alexander Payne chose to follow up Election, a black comedy of razor sharp wit, with something as wit-free as Jurassic Park 3. Much like Spielberg did his career worst work on The Lost World Jurassic Park, it would be fair to say that Jurassic Park 3 marks a low point in the career of Alexander Payne and Jim Taylor. A paycheck is a paycheck and being hot off of a critical and commercial hit created the strange cosmic coincidences needed to put the future auteurs behind Sideways into the Jurassic Park universe. 

That said, while I do think this is the worst script of the career of Payne and Taylor, that doesn't mean the movie is that bad. Jurassic Park 3 is actually an improvement over The Lost World Jurassic Park. Director Joe Johnston smartly keeps his Jurassic Park movie under 100 minutes in length and maintains a frenetic pace throughout its 96 minute runtime. A script this thin could not sustain a movie much longer than that, especially with characters this obnoxious and simplistic. Making Jurassic Park 3 any longer than 96 minutes would be an agonizing watch. As it is, it's not great but it is fast and the action is genuinely well directed. 

Jurassic Park 3 returns Sam Neill to the role of Dr. Alan Grant. After being greatly missed in The Lost World Jurassic Park, having Neill back in Jurassic Park 3 is, at the very least, a welcome bit of nostalgia. Also briefly back is Laura Dern as Dr. Ellie Sattler. Her inclusion is perfunctory and convenient, a loving nod to the original Jurassic Park. She's there to be used as needed by the script to underline a plot point early on and provide a convenient ending for the film. 

Sorry, my cynicism keeps sneaking through. I was talking about being happy to see Dr. Grant again. Sam Neill is a steady, calming, soothing presence in Jurassic Park. He's an absolute necessity as he provides a grounded element amid the chaotic special effects frenzy that Joe Johnston is unleashing in Jurassic Park 3. It's easy to see where Johnston's work on Jumanji influenced his work here. Much like Jumanji, Jurassic Park 3 is at its best when it doesn't stop running, upping the stakes, and being an action movie. 

The plot kicks in when Dr. Grant receives an offer to play aerial tour guide for a rich married couple. Paul and Amanda Kirby have charted a plane to fly over Isla Sorna, the second of John Hammond's dinosaur islands and the location of the last movie, The Lost World Jurassic Park. Grant is promised that the plane will not land on the island and that he will just narrate a few facts about what few dinosaurs can be seen during the flyover. What he doesn't know is that he's actually on a dangerous rescue mission. In a convoluted opening sequence, Paul and Amanda's son, Eric has been stranded on the island.

The crew aboard the plane are actually mercenaries who've been hired to extract the boy from the island. Naturally, things don't go well and people end up getting eaten by dinosaurs. Since we don't know the names of the actors playing the mercenaries, and they lack what I like to call 'main character powers,' they're the first to go. The only name supporting actor, Michael Jeter, is also doomed for being a liar and a bit of a weasel, bad guys getting ugly comeuppance is a trope of the Jurassic Park films, aside from John Hammond, the greatest villain of the series, who gets to escape because he's played by kindly grandpa, Richard Attenborough. 

Find my full length review at Geeks.Media 

Movie Review I Now Pronounce You Chuck and Larry

I Now Pronounce You Chuck and Larry (2007) 

Directed by Dennis Dugan 

Written by Barry Fanaro, Alexander Payne, Jim Taylor 

Starring Adam Sandler, Kevin James, Jessica Biel, Ving Rhames, Steve Buscemi, Dan Akroyd

Release Date July 20th, 2007

Published July 20th, 2007

For every little bit of progress Adam Sandler makes as an actor; he seems to take one step back. His performance earlier this year in the 9/11 drama Reign Over Me was a tremendous step forward for Sandler as an actor, if a bit of a step down from his usual box office stature. Like his very impressive turn in P.T Anderson's Punch Drunk Love which Sandler followed with the juvenile animated effort 8 Crazy Nights and the dull, unfunny rage of Anger Management, Sandler chooses to follow Reign Over Me with the childish attempt at P.C laughs in stereotypical clothes, I Now Pronounce You Chuck and Larry.

Larry Valentine has a big problem. As a firefighter who rushes into the blaze to save lives, his life is often on the line. His work is very dangerous and with two kids at home to take care of, Larry wants to make sure they get his pension should something happen to him. Unfortunately, a paperwork snafu, in the wake of his wife's untimely death, has left Larry in a real bind. Should he be killed in action, his kids won't get his pension unless he gets married.

Unfortunately for Larry, there is only one person he would trust enough to make sure his kids were taken care of. his lifelong pal, Chuck Levine. This is where Larry crafts a real hairbrained scheme. Seeing a story in the paper about how the city of New York has legalized domestic partnerships for gay couples, Larry gets the idea to marry his pal Chuck.

Chuck is not exactly the ideal choice for this scam. He has a rather legendary reputation as a ladies man. In fact, when we first meet Chuck a pair of sexy twin sisters are fighting over him after he slept with both of them. Later, when Larry goes to tell Chuck his plan, he interrupts him while he is romancing several women at the same time.

Nevertheless, Chuck owes Larry his life after a fire call went bad, so he agrees and the two head for Canada to make it legal. Things get complicated when the city challenges the authenticity of their relationship and Larry hires a sexy lawyer named Alex (Jessica Biel) who immediately strikes a chord with Chuck and puts the whole scheme on thin ice.

This being a typical, brainless Adam Sandler effort you expect and get just about every stereotype known to man thrown in as comic asides. However, surprisingly enough, the biggest problem with I Now Pronounce You Chuck and Larry is not insensitivity, the film actually offers a pro gay agenda. Rather, the problem is much simpler than that. It's just not a very well made movie.

Directed by Adam Sandler's pet director Dennis Dugan (Big Daddy, Happy Gilmore), I Now Pronounce You Chuck and Larry never establishes a solid tone or any kind of charm. The film is crude and resorts more often to dull slapstick than to anything organically plot driven. The plot should be the focus, it's a big broad topic with many opportunities for satire. That, sadly, is well beyond the intellectual scope of Dugan and Sandler.

While there will be many who will be offended by the many stereotypes at use in I Now Pronounce You Chuck and Larry, you will be surprised how fairminded and pro gay the film really is. Though the support is shallow because of the gutless direction of Dennis Dugan and the strip mined script by Sandler and Barry Fanaro, the film's heart is in the right place.

What really stinks is that you can see the potential for something a little more thoughtful, deeper and more satisfying. Jim Taylor and Alexander Payne, the team behind Election, About Schmidt and Sideways, delivered a version of this script that, those who have read it, say is sharper and more pointed in its humor and perspective. That version was flamed in favor of a more Sandler friendly version with all of the slapstick and self serving ego indulgences that are Sandler's hallmarks.

My biggest fear was that I Now Pronounce You Chuck and Larry would be a series of stereotypical jokes with a liberal use of the word f****t. Watching it, that is what we get. However, a heavy dose of positivity manages to balance things out in a very surprising way. That positive feeling however, is not enough to make the film funnier than it is or more believable than it is.

I Now Pronounce You Chuck and Larry suffers the ego of its star Adam Sandler who compromises much of what might have worked in the film in favor of fellating his own ego. What a shame, there was a good deal of potential here.

Movie Review: About Schmidt

About Schmidt (2002) 

Directed by Alexander Payne 

Written by Alexander Payne, Jim Taylor

Starring Jack Nicholson, Hope Davis, Dermot Mulroney, Kathy Bates, 

There have been a few times in Jack Nicholson's career where the image of Jack, the iconic ladies man, Laker fan Jack, the famous image, overcame the actor Jack Nicholson. Films like Wolf and even his role as The Joker in Batman showed Nicholson mugging for the camera and playing off his image rather than his talent. Then, in the early 2000’s, Nicholson seemingly set out to destroy ‘Jack’ the image and return to Jack the Actor. The Pledge, one of the best films of 2001, showcased Nicholson in a role stripped of any glamour or vanity. The Pledge is a slow boil performance that is both subtle and heartbreaking. And in About Schmidt, Jack goes for yet another unglamorous, though more mainstream, role as an aging retiree trapped in a life unlived.

As Warren Schmidt, Nicholson is a 66-year-old insurance company actuary. It’s a job Warren tells us has endowed him with the ability to determine just how long people will live. Thus, Warren is well aware of his own mortality as he sits at his retirement dinner with his wife of 42 years played by June Squibb. 42 long years, 42 very, long, years. As Warren describes in a very funny voiceover: “Who is this old woman in my bed?”

Warren and his wife have one daughter, Jeannie (Hope Davis) who is soon to be married. Though he is not allowed to say anything about the wedding by his domineering wife, Warren secretly hates his daughter’s fiance, played by Dermot Mulroney. This isn't your typical ‘no man is good enough for my daughter hatred.’ As Warren introduces his daughter’s fiance, in his voiceover, we are quick to see just what a real doofus this guy is.

Now retired with little to do Warren spends his days with crossword puzzles and watching TV. While flipping channels he comes across one of those child-reach infomercials where some celebrity tells you that for 22 dollars a month you can feed a starving child. Warren, for some reason, likely boredom, writes down the phone number, and is soon doling out the cash and writing letters to a six year old African boy named Ndugu.

The voiceover narration in About Schmidt comes from the letters Warren writes to Ndugu, and just hearing Nicholson open a new letter with the words "Dear Ndugu" provides the funniest and saddest moments of the film. Nicholson’s rye recognition of how he’s really talking to himself 

It is not long after Warren retires that his wife passes away, leaving Warren with an empty house and a newly purchased Winnebago in his driveway that his wife had purchased to drive cross country for their daughter's wedding. Taking to the road, Warren's adventures including a sad, tragic meeting with a couple of fellow RV drivers that is a terrific diversion from the main story. The film however gains it's true narrative thrust when Warren arrives for his daughter's wedding and ends up staying with the groom's mother Roberta (Kathy Bates). Her full on personality is immediately at odds with Warren's quiet dignity. A scene where Warren and Roberta share time in the hot tub is pure comic bliss that shows Nicholson at his slow boiling best.

Director Alexander Payne is a true pro, a visionary comic auteur that deftly combines realism and comedy. About Schmidt is filled with moments of warmth and humor that never seem fake. Thanks to one of the best scripts, casts and directors of any film in the last year.

Movie Review Sideways

Sideways (2004) 

Directed by Alexander Payne 

Written by Alexander Payne, Jim Taylor 

Starring Paul Giamatti, Thomas Haden Church, Virginia Madsen, Sandra Oh 

Release Date October 22nd, 2004 

Published November 13th, 2004 

Wannabe novelist Miles (Paul Giamatti) is sweating the fate of his first novel as he heads off for a week long bachelor send off for his friend Jack (Thomas Haden Church), though to hear Jack tell it, Miles’ novel will be on store shelves in no time. Jack has always done little things such as this that has made Miles uncomfortable but as “Sideways” progresses it’s clear that Miles will put up with it, Jack seems to be his only friend. 

Divorced for two years, Miles cannot get over his last relationship and has more and more come to rely on his love of great wine to get him through a dreary week as an 8th grade English teacher. Is Miles an alcoholic? He would say no but the evidence seems to say otherwise. Miles’ drinking isn’t really the subject of “Sideways” but rather a sad subtext.

The text of “Sideways,” the story that drives the film, is Miles and Jack’s week long trip to California wine country in Solvang, California. On the trip Miles thinks that they are going to drink wine, play golf and get back to L.A in time for the rehearsal dinner before Jack’s wedding. Jack, on other hand, makes one thing clear; he’s getting laid on this trip one last time before he gets married.

There is an element of “Sideways” that plays like “American Pie” for the mid-life crisis crowd. Jack is an overgrown child, a slave to his sex drive and the needs of the moment in front of him. Miles is lower key but in the way that he allows himself to be dragged into Jack’s world he demonstrates that he isn’t much more mature than the friend he constantly looks down upon.

On their first night in Solvang Miles and Jack meet Maia (Virginia Madsen) that Miles had spent a little time with on previous trips but she was married then. She’s not married anymore and when Jack makes the acquaintance of a local girl named Stephanie (Sandra Oh) who happens to be friends with Maia, Jack’s plans to get himself and Miles laid kick in even as Giamatti and Madsen’s maturity plays heavy against such childishness.

This brings us to arguably, the most famous scene in “Sideways,” easily the scene that won Virginia Madsen an Academy Award nomination for Best Actress and should have one Best Actor for Giamatti. As Miles and Maia chat about wine they each reveal themselves in elegantly crafted speeches; Miles revealing parallels between himself and his favorite wine, how this particular grape used in Pinot Noir is thin skinned, temperamental and can only be cultivated by the most patient of growers.

As Miles continues the metaphor turns to lament as Miles describes the taste of a good Pinot in the same way one might have described Miles if he ever reached his potential, haunting and brilliant but only under just the right circumstance. The side references Miles makes to Cabernet and how it can thrive anywhere and that it is ‘prosaic’ in an inescapable description of Jack.

Yes, the scene is a little too self aware but it works because Giamatti is so sympathetic in this moment. Then as the scene turns to Virginia Madsen and she describes the life of wine with this look of warmth and great beauty you quickly realize that this is the woman who could coax Miles to his full potential. The scene ends as it only can as early as it is in the movie; in awkwardness as shy fumbling Miles blows the moment only to even more awkwardly attempt recapture it.

These are wonderfully human moments that draw us in and glue us to our seat for the rest of the ride that is “Sideways.” It’s a film about characters that do some awful things but are never caricatures, never merely types of characters. Paul Giamatti especially delivers a performance of deep pathos, a sympathetic portrayal of a pathetic man striving to no longer be pathetic, failing more often than he succeeds.

Wine is the life blood of “Sideways” and Miles’ love of wine is his one respite, an area of expertise that he can fairly be proud of and yet offers another layer to his character, pomposity. The oenophile Miles is arrogant and snobbish and yet his expertise in the realm of wine also gives this otherwise pathetic character an air of dignity and sophistication that no other hobby could bestow.

Did you know that the success of “Sideways” has in just a few weeks done such damage to sales of some brands of Merlot that industry insiders are calculating the potential damages to their brand? It’s just one throwaway scene, Miles vehemently refusing to drink Merlot and yet the impact was felt and is still being felt among those who produce Merlot and champion it. 

Ah, the wonderful quirks of our popular culture. 

Movie Review The Descendants

The Descendants (2011) 

Directed by Alexander Payne 

Written by Alexander Payne 

Starring George Clooney, Shailene Woodley, Beau Bridges, Judy Greer 

Release Date November 18th, 2011 

Published November 17th, 2011 

"The Descendants" is filled with glorious flaws. From the strangely clumsy exposition to the at times awkward voiceover narration to the occasionally intrusive score, the flaws are undeniable no matter how much you may like the movie. These and similar flaws are included in every film that writer-director Alexander Payne has made. Yet, we still consider him a genius as a filmmaker. Why? Because, every mistake, every imperfection of an Alexander Payne film is a reflection of the mistakes and imperfections of his oh so compelling characters.

George Clooney stars in "The Descendants" as Matt King. Matt's life is far from paradise; despite the fact that he owns a large stretch of what is undoubtedly considered paradise. Matt lives in Hawaii and while his opening narration is meant to convey the ugly side of Hawaii, what we will soon see, the stretch of land that Matt's family owns, is the side of the Big island that gives Hawaii it's reputation as paradise. Matt's personal life however, reflects the ugly side of things. Matt's wife is in a coma following a boating accident. This leaves Matt in charge of his youngest daughter, Scottie (Amara Miller) for the first time in years. It's not that Matt's a bad father he's just never been called upon to be a very good father.

Matt's oldest daughter, Alex (Shailene Woodley) is away at boarding school but with her mother's health failing Matt decides to bring her home; whether she wants to come home or not. Alex knows something that her father doesn't. It's the reason Alex has been acting out: Matt's wife was cheating on him. This revelation sets the story of "The Descendants" in motion as Matt and Alex form an unusual new bond over trying to find the man who his wife was sleeping with and considering leaving him for. The search leads to a trip to Matt's fabled track of land; which, in a strange twist has also drawn the attention of his wife's lover.

Running parallel to the cuckolding story is that of Matt and his family and Matt's decision about who to sell his family's land to or whether to sell it at all. The land issue gives "The Descendants" grounding in Hawaiian history that is surprisingly resonant and well founded. George Clooney's performance as Matt is phenomenal. While you will have to suspend belief that a woman would really leave Clooney for Matthew Lillard, Clooney sells the part with panache and a striking mix of drama and good humor. There is darkness to the humor of "The Descendants" that can be hard to take but Clooney is the best possible guide over the rough spots.

"The Descendants" is undoubtedly flawed but I've come to expect flaws from Alexander Payne. Alexander Payne's focus is on allowing his actors the space to create indelible characters that employ his words to the best comic or dramatic purpose. These characters, like Matt and Alex, are more often than not so wildly compelling that the flawed directions and moments of clumsiness fade away in their presence.

I was reminded often during "The Descendants" of Alexander Payne's "About Schmidt" starring Jack Nicholson. Like "The Descendants," "About Schmidt" employs an occasional voiceover that is at times a little too knowing and cute. The exposition of "About Schmidt" is heavy-handed in the same way it is in "The Descendants." And, as in "The Descendants," "About Schmidt" ends on an awkward yet peaceful beat. I love "About Schmidt." The flaws of that film are the flaws of the main character played by Jack Nicholson. Truly, "About Schmidt" would be less of a film without these flaws; without Alexander Payne's willingness to let his film be flawed in the same ways his characters are flawed.

The same can be said of "The Descendants" where the clumsy exposition reflects the clumsiness of Matt King as he approaches this strange and unfamiliar place in his life. George Clooney is brilliant at bringing Matt's problems to the surface with quiet dignity that gets punctured with strong comic effect. "The Descendants," warts and all, is a terrific film populated by compelling characters that carry the ability to make you laugh or cry. The imperfections are glaring but easy to forgive because these characters are so very compelling.