Movie Review Lady Bird

Lady Bird (2017) 

Directed by Greta Gerwig 

Written by Greta Gerwig 

Starring Saorise Ronan, Laurie Metcalf, Timothee Chalamet, Beanie Feldstein, Lucas Hedges, Tracy Letts

Release Date November 3rd, 2017 

Lady Bird is a remarkably emotional experience, even if you’re not a teenage girl from Sacramento. Writer-director Greta Gerwig has, in her first directorial effort, relayed a masterpiece of the coming-of-age genre. Lady Bird is a wonderfully human, sympathetic, and smart movie, more in touch with real human emotion than most films of its kind. The film ranks next to my other favorite movie of 2017, The Big Sick, as that all too rare humane masterpiece.

Lady Bird, real name Christine, though she does loathe to be called that, Lady Bird is the name she chose for herself, is an iconoclast. At 17 years old, she has a strong sense of what she wants but not what to do with that information. What she wants is what so many 17-year-old girls wants, to be away from her mother. Don’t misunderstand; there is nothing particularly wrong with Lady Bird’s mother, Marion (Laurie Metcalf), she just tries to make Lady Bird more realistic, and Lady Bird can’t have that.

Marion isn’t a perfect mother. She does criticize too much and is pushy in the way many moms are. She’s also recently the only significant income in her family of five, including her recently unemployed husband Larry (Tracy Letts), their son Miguel (Jordan Rodriguez), and Miguel’s live-in girlfriend Shelly (Marielle Scott). And, of course, Lady Bird who seems to have no concept of the limitations her family lives within, locked within her bubble of teenage self-involvement.

Boys have become a new focus of Lady Bird’s attention. Attending a Catholic all-girl school, she was rather sheltered until she found out about the school’s partnership with a nearby boy’s school to perform musicals. With her best friend Julia (the wonderful Beanie Feldstein), Lady Bird pursues acting, if only to indulge her theatrical nature and meets Danny (Lucas Hedges), a stand-out actor, up for the lead part. The teenage romance between Lady Bird and Danny is one of the most perfect presentations of first love that I have ever seen on screen, and I have seen a few teen romances in my time.

Find my full length review in the Geeks Community on Vocal. 

Movie Review Barbie

Barbie (2023)

Directed by Greta Gerwig 

Written by Noah Baumbach, Greta Gerwig 

Starring Margot Robbie, Helen Mirren, Ryan Gosling, Rhea Perlman, Simu Liu, Will Ferrell, America Ferrara 

Release Date July 21st, 2023 

Published July 23rd 2023 

Barbie is some of the most fun that I have had at the movies in 2023. The comedy is rich and thorny and the attitude is all sparkles and pink. It's lively, energetic and innovatively presented by one of our best working storytellers today, Greta Gerwig. I was highly skeptical and a bit perturbed that one of the best directors working today had turned their attention to directing a movie about Barbie. I should not have been. I should have just trusted that Greta Gerwig knew exactly what she was doing. The product of this highly commercial move into blockbuster product placement is a wildly funny meta-comedy about existence, purpose, and the desire to understand oneself. 

If any actress was going to be the right choice to deconstruct and uphold the legend of Barbie, it was Margot Robbie. She's ideal Barbie, an uber-talented, multi-hyphenate, who happens to look like a Barbie doll come to life. She's also among our most talented and versatile actors today so, of course, her take on Barbie is way more complex than anything you are anticipating. And it's that very complexity that brings the biggest laughs as invasive thoughts begin to consume Robbie's 'Stereotypical Barbie,' the version of Barbie you imagine when you think of Barbie Dolls. 

Of course, there have been dozens of different Barbies over the years. Barbies of different ethnicities, body types, and professions as vast and wide as Astronaut, Supreme Court Justice, and President Barbie. Each Barbie is played by a murderer's row of the best supporting players working today including Issa Rae, Hari Neff, Alexandra Shipp, Emma Mackey and Sharon Rooney. All of the Barbie's of this unique movie universe live in Barbieland, a magical place adjacent to the real world where Mattel, headed up by Will Ferrell, keeps pumping out market tested new versions of Barbie, as well as several Ken's. 

Oh, yeah, almost forgot about Ken. Ken is played by Ryan Gosling in a scene-stealing performance. He's stereotypical Ken and thus fated to love Barbie. But what happens if she doesn't love him? Meanwhile, several dozen other Ken's follow the lead of either stereotypical Ken or his nemesis, Ken 2 (Simu Liu). Both appear to be vying for Barbie's attention, much to Ken's dismay. Oh, and Alan (Michael Cera), is kicking around somewhere in the background. Alan is a long-discontinued pal of Ken and Barbie, a real Barbie character variation. The jokes about Alan are all hits throughout Barbie, even as Michael Cera portrays him quite sympathetically. 

Click here for my full length review at Geeks.Media 

Movie Review White Noise

White Noise (2022) 

Directed by Noah Baumbach 

Written by Noah Baumbach 

Starring Adam Driver, Greta Gerwig, Don Cheadle 

Release Date November 25th, 2022

Published November 18th, 2022 

Netflix 

I've never read Don Delillo's much heralded 1985 novel, White Noise. Others have told me it is quite brilliant. I'm told it has a visionary quality that makes it quite worthy of being adapted at any time. From what I know about White Noise, Noah Baumbach, director of intimate dramas about awkward families and spiky characters, would not be the most likely choice to direct this material. The story carries elements of science fiction, high minded satire ala Joseph Heller, and a borderline unfilmable obsession with death. Unfilmable in that most audiences won't find the theme one they want to watch play out in a movie. 

It's rather perfect that an iconoclast like Baumbach would choose something so seemingly impossible as his first big budget directorial effort. It's also kind of perfect that he's taken millions of dollars of Netflix money and made an indie movie on a blockbuster budget. White Noise is filled with showy, dramatic speeches, and wildly strange moments of action fitting of a director of esoteric human drama. White Noise is filled with numerous themes but none of which seems to stand out or find any satisfying resolution.

Adam Driver stars in White Noise as J.A.K or Jack Gladney, father of 5 children from 4 marriages to five different women. His new wife, Babette (Greta Gerwig), shares with Jack a despairing fear of death. What begins as a somewhat romantic, fatalistic conversation about how they can't live without each other and making the case that one should die before the other in order to save them from comparative states of horrific grief. 

Babette's fear of death manifests in her beginning to take an experimental drug that is supposed to relieve her of the fear of death. Instead, the drug just effects Babette's memory in general making her forgetful but still deeply in fear of death. For Jack, he expresses his fear of death through his work as a professor at the fictional College on the Hill, located somewhere in Ohio. Jack has earned fame in Academic circles for his intensive course, Hitler Studies, where he opines on the evils of the dictator and the culture that made him possible. 

At one point, White Noise comes to a complete halt for a dueling speech between Driver's Jack and his best friend, Professor Murray Siskind (Don Cheadle). In an incredible verbal dance, Jack and Murray each pontificate about the area of their expertise. Jack, of course, knows all about Hitler while Murray's unique field of study is Elvis Presley. The pair find strange and fascinating parallels between Hitler and the King of Rock N'Roll in each having attachment issues related to their mothers, their absent fathers, and their incredible ability to draw and compel a crowd. 

Neither Driver and Cheadler nor Jack and Murray are competing here. Rather, the pair is improvising a intricate dance of intellects that dovetail off of one another, building on each others points, coming to the point of interrupting each other but never seeming to steal the attention away. At one moment, Jack recedes into the crowd of gathering professors and students, mesmerized by their tete a tete and then he re-emerges in a different part of the crowd, rising from a crouch to take hold of the scene, and Murray steps back in awe to enjoy his fellow Professor's presentation. 

It's the best scene in White Noise and it is so good that I want to recommend the movie solely based on the quality of Driver and Cheadle's magnificent duet. I want to recommend it but I am not sure that I can. You see, what remains of White Noise following this bravura effort is far too strange, obtuse, and esoteric that I am not sure who the audience for this is meant to be. White Noise has director Baumbach tapping various styles from other directors from Altman to Wes Anderson to Mike Nicholas and Stanley Kubrick. The homage throughout White Noise is fascinating but I am not sure it adds up to anything in the end. 

I'm told that Delillo's novel actually thrives on trainwrecking the narrative into some inescapable place and leaping to a new narrative thread. White Noise, in fact, depicts an actual trainwreck that serves the purpose of shifting the narrative from quirky academic satire to an equally quirky survival thriller. The family is forced to flee from their home after a train is hit by a semi-truck carry flammable chemicals. The train was carrying toxic waste and the result is what the book and film call an 'Airborne Toxic Event.' Jack ends up being exposed to the Toxic Event and assumes that it is going to kill him but that is only used to underline his ongoing obsession with death. 

The Airborne Toxic Event portion of White Noise includes a chase scene and chaotic, end of the world preaching and then just peters out into the family returning home and going on with their lives. It's weirdly clever and provides yet another narrative trainwreck into another story, though slightly less successful than the actual trainwreck scene. The final act then becomes a domestic drama as Jack investigates Babette's experimental drug. I doubt that I can spoil the movie but I am nevertheless going to end my description there. 

White Noise is a particularly unsatisfying experience. On one hand, I love some of the ambition that Baumbach demonstrates. The stuff with Driver and Don Cheadle and Hitler and Elvis is genuinely riveting. Driver's performance is weird, as is Cheadle and Greta Gerwig's performances but they are entertainingly weird, they match the weird tone of White Noise. The acting is really first rate in terms of how it marries with the wild ideas of White Noise. That said, I can see where a more mainstream audience than myself, might be put off by the theatrics, the showiness, and the un-ironic bigness of these performances. 

I also love the film credits which encompasses the final scene of the movie to the very end of the last credit on screen. It's essentially a music video reminiscent of the wildly anarchic and inventive style of a Spike Jonze video. The lengthy choreographed sequence marries dancers and non-dancers a like in a series of coordinated movements that mimic and mock the daily mannered pleasantries of grocery stores in our obsessive consumer culture. Actual dancers glide amid the coordinated movements of shoppers, smiling, everyday consumers, going about the business of selecting their varieties of brands and filling carts to overflow with item after item. 

Consumer culture is among the many broad targets of White Noise though what point is being made about consumer culture is far too broad to determine. That really is the defining quality of the movie White Noise, it's a scattershot blast of vague commentary on modern life, some of it quite interesting and entertaining and quite a lot of it presented without much insight, humor, or meaning. I could excuse that as being just like life where not everything has a deeper meaning but that feels like a cop out by both me as a writer and critic and by the movie which appears incapable of settling on any kind of point. 

Click here for my full length review at Geeks.Media. 

Movie Review Arthur

Arthur (2011) 

Directed by Jason Winer

Written by Peter Baynham 

Starring Russell Brand, Jennifer Garner, Helen Mirren, Greta Gerwig, Nick Nolte 

Release Date April 8th, 2011 

Published April 8th, 2011 

There was no urgent need to remake the 1981 comedy classic "Arthur." The legendary Dudley Moore had brought to the role of millionaire alcoholic Arthur Bach all of the assets that could be brought to it. While, the original did suffer a bit for the abominable sequel "Arthur 2: On the Rocks" that alone doesn't justify attempting a new spin on the original.

Nevertheless, we have an "Arthur" remake in theaters and starring comedian turned actor Russell Brand as the alcoholic, man-child, millionaire Arthur Bach. Brand is well suited for the role being both English, as Dudley Moore was, and having a history of alcohol abuse on which to draw a great deal of inspiration. That doesn't justify the remake but Brand does make it all quite pleasant.

Russell Brand is 'Arthur'

Arthur Bach (Russell Brand) is undoubtedly an overgrown child. When we meet Arthur for the first time he is dressed as Batman and planning to attend a black tie function being put on by his mother, Vivian (Geraldine James), arriving in the Batmobile alongside his driver and friend Bitterman (Luis Guzman), dressed as the Boy Wonder.

If you find this scenario charming then you are just the audience for "Arthur" a comedy that will repeatedly reinforce Russell Brand's man-child qualities through nerd culture signifiers. Later we will see what Arthur says is the original Darth Vader helmet among other pop culture ephemera that Brand's multi-millionaire character obtains throughout the film in order to remind fans of better movies, earning the good feelings by proxy.

A marriage of convenience

Arthur may be 30 years old but he is still cared for by his childhood nanny Hobson (Dame Helen Mirren), something he justifies by referring to her as his best friend. Hobson is supportive but mostly disdainful of Arthur's wasted life of whores and copious amounts of alcohol. Hobson is, for a short time, surprisingly in favor of seeing Arthur marry Susan Johnson (Jennifer Garner), a marriage Arthur sorely hopes to avoid.

Arthur has been instructed to marry Susan by his mother or he will be cut off from the family fortune. Susan's father (Nick Nolte) threatens to cut off something else entirely should Arthur not go through with the marriage. Arthur seems headed down the aisle until he meets Naomi (Greta Gerwig) an unlicensed tour guide and aspiring children's book author. They fall for each other immediately but will Arthur give up his fortune for love?

Charming, sarcastic and sugary sweet

Russell Brand charms his way through much of "Arthur" with well timed quips and lighthearted insults. It's a fun and funny performance well matched with Dame Helen Mirren's sturdy and often wearyingly sarcastic Hobson and Greta Gerwig's sugar sweet Naomi. But, these fabulously pleasant performances don't excuse "Arthur's" lack of necessity.

There simply remains no reason to have done a remake of "Arthur." I like Russell Brand and the rest of the cast but each could be doing something more original and constructive instead of going through the motions of someone else's comedy legend. Director Jason Winer and writer Peter Baynham offer too little that is new here and what little new there is doesn't make this "Arthur" relevant or unique.

Worth seeing for Russell Brand fans

If you have seen the trailers or commercials for "Arthur" and thought that you'd like to see it then I encourage you to go. You are likely a fan of Russell Brand and his work here is solid. If you are on the fence however, there is nothing in "Arthur" that screams must see.

Wait for the DVD and you will likely be just as satisfied. Or, you could rent the Dudley Moore original and be so delighted that you forget the remake entirely.

Movie Review Greenberg

Greenberg (2010) 

Directed by Noah Baumbach

Written by Noah Baumbach

Starring Ben Stiller, Greta Gerwig, Rhys Ifans 

Release Date March 19th, 2010 

Published May 12th, 2010 

Dear Roger Greenberg

Unlike you I rarely write complaint letters but having spent time with you, courtesy of writer-director Noah Baumbach, I felt compelled to write to you. My complaint is that I feel I am far too like you and I aim to change that. I guess this isn't so much a complaint, maybe even more of a thank you. Wanting to not become like you may change the very course of my life.

Sincerely,

Sean Patrick Kernan

The movie Greenberg may have honestly changed my life. Heretofore a misanthrope with an honest distaste for most other people I am compelled by the example of Ben Stiller's performance in Greenberg that this is the path of a lonely, pathetic and desperate existence where even those you do connect with will be dealt the blow of your worldview eventually.

Roger Greenberg is 41 years old and staying at his millionaire brother's mansion for several weeks while his brother is on a family vacation, his aim is to actively do nothing. What nothing entails is unclear as Roger seems to hate everyone and everything but desperately calls old friends and acquaintances begging for some company. This would require him to do things and there you have his conundrum.

Among the things for Roger to do is spend time with his brother's assistant Florence (Greta Gerwig) who reveals herself to be one of the rare people who can tolerate his constant bad attitude. An aspiring musician, Florence speaks to Roger's own longings; he once was in a band that came up short of the big time because of him.

Music is not a big part of Roger and Florence's relationship. The dominant theme is Roger pushing and pulling and Florence finding his anger and mood swings to be a mask for a vulnerability that she finds irresistible. These two people would be meant for each other in any other movie but in the complex web of character conflict woven by writer-director Noah Baumbach, their personalities provide realistic roadblocks to happiness.

This is the finest work in Noah Baumbach's previously overrated career. Greenberg irons out the issues with his Margot at the Wedding in which all of the characters were mini-Greenberg's and thus intolerable. With no one to point out what jerks they all were, the characters sprayed venom in all directions until the movie could not sustain the momentum of their irksomeness.

In Greenberg only Roger is bitter, sad, hateful and desperate and it's easier to tolerate. Everyone else in the movie reveals Roger's character and forces him to confront himself. This allows the character to evolve and if not change, at least check the attitude to the point where other people can tolerate him.

Ben Stiller's performance in Greenberg is a stunner, especially considering his remarkably awful turns in not one but TWO Night at the Museum movies. One could fairly wonder if he could ever be taken seriously after repeated slap fights with a monkey but Greenberg shows there is still talent there. 

Greta Gerwig is wonderful as the often wilting but wily Florence and just as good is Rhys Ifans who plays Roger's best friend Ivan. Years ago Roger and Ivan were in a band together and naturally Roger blew the whole thing with his bad vibes. To his astonishing credit, especially for a Baumbach character, he doesn't hold it against him and what Ifans plays so well are the unspoken reasons why he doesn't hold it against him.

Greenberg is filled with all of the subtlety and wit that Noah Baumbach always thought he had but has never really demonstrated. The characters are flawed, intelligent and achingly normal creatures that are not defined by their wounded psyches, aside from Greenberg that is. It's almost anti-Baumbach in that way.

Most important for me is the performance of Ben Stiller who reveals portions of Roger that I'm sure many people like me recognized far too well in our own lives. Like him I am an angry, self sabotaging misanthrope who mistakes edgy self involvement for wit and loathing of humanity as insight. Yes, I do those things and after seeing the result in Greenberg I aim to be different. What more can one ask of a great work of art but to have it reveal something of them.

For that, for me, Greenberg is a revelation.

Movie Review The Humbling

The Humbling (2015) 

Directed by Barry Levinson 

Written by Buck Henry 

Starring Al Pacino, Greta Gerwig, Dianne Wiest, Nina Arianda, Charles Grodin, Kyra Sedgwick 

Release Date January 23rd, 2015 

Published January 17th, 2015 

The crazed, narcissistic, sexist, ludicrousness of "The Humbling" almost needs to be seen to be believed. I say “almost” because I really don't want you to waste your precious time watching this dreadful movie. Al Pacino has been wandering in the cinematic woods for years now. While he surrounds himself with talented people in "The Humbling," each is defeated equally by the film. Based on the novel by Phillip Roth, "The Humbling" stars Al Pacino as washed-up actor Simon Axler. Simon is beginning to lose his mind. On stage one night, in front of a disinterested crowd, Simon takes a header into the orchestra pit and winds up in a mental institution. 

Despite his tendency to share his narcissistic rambling with anyone, the talking cure doesn't seem to be working. Nevertheless, after 30 days Simon heads back to his empty mansion in Connecticut to recuperate. There, Simon is joined inexplicably by Pegeen (Greta Gerwig). Pegeen explains that she is the daughter of Simon’s old acting friends. Because she had a crush on him when she was 11, she says, she'd like to give up being a lesbian and be with him. This is, despite his impoverished living situation, his inability to work, and the fact that he is 66 years old and slowly losing his mind.

Here, director Barry Levinson and Pacino might have found a believable direction for "The Humbling" if they they followed through on Pegeen being a figment of Simon's imagination. There is briefly a hint that she's not real and if that had been the direction of the story, maybe the film would not be completely horrible. Instead, the film doubles down on the Pegeen character, rendering her the picture of a sexist fantasy and feminist nightmares. With Pegeen comes a series of reductive caricatures of women including not one, but two, stalker ex-girlfriends. One of them (Billy Porter) is now a man. The other one  is Louise (Kyra Sedgwick), whom Pegeen claims to have slept with in order to get her job as a university professor. I really wish I was making all of this up, but I am not.

Pegeen's arrival at Simon's home is among the more bizarre series of scenes in any movie in 2014. Pegeen arrives, introduces herself and then angrily begins to explain who she is. Why is she angry? Apparently it’s because Simon gave her a ring when she was 11 years old and she thought it meant they were married. It's impossible to tell if this dialogue is meant as a joke, because Greta Gerwig plays the scene with a bizarre, haughty intensity that doesn't fit the scene if it is indeed intended as a joke. It probably should be funny but it is most certainly not. 

That scene somehow ends in a kiss between Pegeen and Simon which is as creepy and awkward as you would imagine between 66 year old Al Pacino and a much, much, much younger woman. Then Simon and Pegeen begin playing with a toy train. Again, all of this is played straight, as if nothing remarkable or unusual has happened. A lesbian has just switched gender preference to be with a man old enough to be her grandfather and now they are playing with toy trains. That sounds like someone describing a fever dream.

The Humbling somehow manages to get weirder and more repellent. "The Humbling" contains a subplot in which a woman named Sybil (Nina Arianda), whom Simon met while he was committed to the asylum, (funny joke, right? Sybil in a mental hospital), Sybil wants Simon to kill her husband. After Simon is released from the hospital, Sybil stalks him and continues to try to hire him to kill her husband. Why? Because in "The Humbling" all women are completely insane.

Oh, but wait dear reader, director Barry Levinson and writer Buck Henry  he film have a cop-out for all of this sexist bullshit on display: Simon is an unreliable narrator. Simon may be suffering from Alzheimer’s or a more simple form of age-related memory loss. As he narrates the story, he can't remember it well. He talks to Pegeen when she's not there. He may be inventing all of this story or none of it. "The Humbling" is a grand, disturbed, mess of a movie that inspires bafflement over those involved in its creation. The once great Levinson continues his 17-year run of terrible films and takes the once-great screenwriter Buck Henry down with him. Henry hadn't had a screenplay credit in 19 years (his sharp wit last crafted the Nicole Kidman movie "To Die For"). He should have remained retired.

Greta Gerwig, Kyra Sedgwick, Dianne Wiest, who plays Gerwig's mother in the film, and the wonderful Charles Grodin also get dragged down into the muck of Pacino's continuing decline. I can't imagine what each of these fine performers thought that they were getting into in "The Humbling," but I am sure they cannot be happy with the outcome. Repeatedly throughout the film, Simon goes meta and muses about how people only want to see him return to the stage to watch the freak, the car wreck in progress. I doubt Pacino recognizes this musing as a commentary on his own career. But indeed there is only that reason to watch a Pacino movie these days. I keep watching Pacino in part because it is my job and in part because I just don't think it can get any worse, and then it does.

"The Humbling" is the latest rock bottom for the once-great Pacino.