Movie Review: Cirque Du Freak The Vampire's Assistant

Cirque Du Freak The Vampire's Assistant (2009) 

Directed by Paul Weitz

Written by Paul Weitz, Brian Helgeland 

Starring John C. Reilly Chris Massoglia, Josh Hutcherson, Ken Watanabe, Ray Stevenson

Release Date October 23rd, 2009 

Published October 22nd, 2009

Vampires are hot in Hollywood thanks to Twilight. That massive hit film will spawn a sequel later this year. directed by Chris Weitz, of American Pie fame. Twilight also likely played a part in the film adaptation of another lit based Vampire tale. Ironically this too has been directed by someone named Weitz. Paul Weitz brings Cirque Du Freak: The Vampire's Assistant to the big screen ahead of his brother Chris's New Moon. It's fair to assume Chris will have a great deal more success than Paul has had with this abysmal mishmash of kid flick and vamp flick.

Chris Massoglia takes the lead in Cirque Du Freak as Darren. A spider obsessed power nerd, Darren is modestly popular at school but not exactly king of the school. His status is dragged down a bit by his hot headed best friend Steve (Josh Hutcherson) whose own obsession with vampires will soon land them both in hot water.

One afternoon as the boys are lamenting a lack of things to do in their small town they find a very intriguing flyer. It's an ad for something called Cirque Du Freak and it promises something well beyond either boy's previous experience. Taking in the show they witness a woman who can grow back her limbs, a man with two stomachs and finally a vampire magician named Crepsley (John C. Reilly).

When the Cirque is broken up early by an invading mob of angry townspeople Darren ends up stealing Crepsley's prized and dangerous spider. Steve meanwhile tries to become a vampire and is turned away by Crepsley. Soon, because of the spider and a deal with Crepsley it is Darren who ends up a vampire. Steve meanwhile turns to Crepsley's enemy for help.

There is a great deal more minutias in this plot but I just didn't care enough to detail it. Cirque Du Freak: The Vampire's Assistant is an all out mess of plot strands, extranneous characters and a complete waste of time. The nature of the film is as the start of a franchise so going in you know their will be no resolution. What is surprising is how little you care whether the story resolves anything at all.

Paul Weitz is a talented writer and director with a strong wit and daring sensibility. His Amercan Idol parody American Dreamz was also a disaster but one you have to respect for taking big, daring risks. That film walked a tightrope and fell off but was brave in its failures.

There is nothing remotely brave or even daring about Cirque Du Freak. Piggybacking off the success of other vampire franchises and a successful book series, The Vampire's Assistant is just lame kiddie fare dressed up in halloween makeup and dumped onto the screen with a minimum of coherence.

It simply doesn't work. Cirque Du Freak: The Vampire's Assistant knocks off a few boring vampire cliches, keeps the blood and death to a very bare minimum and fails in every way to find something interesting or vaguely entertaining to do with it's sprawling premise and characters.

Movie Review: Cedar Rapids

Cedar Rapids (2011) 

Directed by Miguel Arteta 

Written by Phil Johnson

Starring Ed Helms, John C. Reilly, Anne Heche, Isiah Whitlock, Sigourney Weaver

Release Date February 11th, 2011

Published February 11th, 2011

It's “The 40 Year Old Virgin” minus the Virgin part. That's a pretty solid description of “Cedar Rapids” which stars a former Daily Show correspondent turned star of The Office, Ed Helms, and tells the story of an innocent man-child slowly drawn toward debauchery by a coterie of bad influences who happen to make great friends.

Directed by Miguel Arteta (“Chuck & Buck,” “Youth in Revolt”), “Cedar Rapids” is the story of Tim Lippe (Ed Helms) a Wisconsin insurance salesman who gets the opportunity of a lifetime after the unfortunate passing of a co-worker (a delightfully awful cameo by Reno 911's Thomas Lennon as a top salesman who dies, off-screen, from auto-erotic asphyxiation.)

Tim is headed to Cedar Rapids for an annual conference of Insurance Company salespeople where the head of the industry, midwest division, Orrin Helgeson (Kurtwood Smith) will hand out the coveted Two Diamond Award, something Tim's late co-worker had walked away with each of the past two years.

While in Cedar Rapids Tim is instructed by his boss, go to character actor Stephen Root, to stay out of trouble as Orrin is a pious man and expects the same of all Two Diamond Award winners. Unfortunately for Tim staying out of trouble will be hard while rooming with his new best friend, the ingratiating Dean Ziegler (John C. Reilly) who has no designs on the Two Diamond Award, only on having a real good time.

Also caught up with Tim and Dean is convention regular Ronald Wilkes (Isiah Whitlock) and mom turned Cedar Rapids party girl Joan Ostrowski Fox (Anne Heche); each of whom will help Tim come out of his shell in ways the naive Wisconsinite could never have imagined.

Miguel Arteta has a particular talent for characters like Tim Lippe. The innocent cast into a fast paced new world has been an area of expertise for Arteta in movies like “Youth in Revolt,” where Michael Cera created a French alter-ego to deal with the quick witted girl of his dreams leading to drug trips and a crime spree as well as in “The Good Girl” where a teenage Jake Gyllenhaal experienced love for the first time with a sad housewife played by Jennifer Aniston.

Arteta brings an immigrants eye view to these characters. Born in Puerto Rico, Arteta came to the US is the 80's where he fostered his love of movies at Wesleyan University in Connecticut. Like Arteta at Wesleyan, his characters seem to be learning a whole new language and culture in their new environments and like Arteta they are quick on the uptake even as the experience is a mind-blowing change.

Ed Helms captures the eager to please Wisconsinite with just the right mix of man-child and upstanding citizenship. We meet Tim for the first time as he accepts a booty call from, of all people, his former grade school teacher played with voracious cougar-ness by Sigourney Weaver. Naturally, Tim thinks this relationship is going somewhere while we in the audience and the teacher quickly feel sorry for him.

Helms has the ability to earn sympathy and laughs in equal measure and it makes him an ideal innocent in the debauched, snowy airs of the big city, Cedar Rapids. John C. Reilly, Anne Heche and Isiah Whitlock make the perfect crew for Tim; Reilly the obnoxious, drunken ‘ladies man,’ Heche as the Cedar Rapids style 'femme fatale,' and Whitlock the stalwart good guy who we know has Tim's back with an assist from Omar from the HBO series 'The Wire.'

”Cedar Rapids” is a glorious satire of supposed big fish in small ponds everywhere. The overblown importance of the “Two Diamond Award,” Cedar Rapids as the Las Vegas of the Insurance sales game, and Tim's general awe at his surroundings set flame to the overstuffed egos of anyone who can't understand why the movie is so funny.

One of the major buys of the Sundance Film Festival, “Cedar Rapids” is poised to be one of the breakout comedies of 2011. Will Ed Helms become the next Steve Carell? Only the box office can decide that. For now bask in the glory of Tim Lippe and his wild weekend in “Cedar Rapids.”

Movie Review: The Sisters Brothers

The Sisters Brothers (2018) 

Directed by Jacques Audiard

Written by Thomas Bidegain, Jacques Audiard 

Starring John C. Reilly, Joaquin Phoenix, Rutger Hauer, Riz Ahmed

Release Date September 21st, 2018

Published September 28th, 2018

The Sisters Brothers stars John C. Reilly and Joaquin Phoenix as Eli and Charlie Sisters, bounty hunters for a man known as The Commodore (Rutger Hauer). Currently, they are on the trail of a chemist named Herman Kermit Warm (Riz Ahmed) who is wanted by The Commodore because he claims to have a formula that makes panning for gold as easy as picking up rocks out of the stream.

Ahead of the brothers, also on Warm’s trail, is John Morris (Jake Gyllenhaal) a detective who works for The Commodore and acts as tracker for the brothers who do the hard part of kidnapping, torturing and often killing the people The Commodore sets them after. This chase however, is a little different. Morris is wavering over whether he wants to do his job and turn Kermit over or join up with him and runoff. 

As for the brothers, Eli is thinking of this run as his retirement. He’s fallen for a school marm and wants nothing more than to return home and open a store. Charlie, on the other hand, only concerns himself with the job and getting very, very drunk. Charlie likes killing people as a profession and hopes one day that he can become The Commodore so he can order other people around to kill on his behalf. 

Much of that plot description is inferred from scraps of dialogue in The Sisters Brothers. This an eloquent and brilliant movie for what is not said as much as what is said. The characters indicate things about themselves and we sort of fill in the blanks based off of their characters. Each character is so wonderfully colorful that you can’t help but want to fill in the blanks and get to know them more.

John C. Reilly is perhaps the standout as Eli, the practical, yet tougher of the two brothers. Charlie makes up for his slightness with risk taking while the quieter Eli is genuinely the kind of guy you can look at and know not to mess with him. Deep down he’s a man who wants to be a respectable gentleman but as we come to see as the movie plays out, he’s a skilled and menacing killer when he needs to be. 

Jake Gyllenhaal’s performance will divide audiences. Gyllenhaal chooses to play John Morris with a quirky vocal affectation that gives the impression of being pompous without being insufferable. Morris is a thoughtful character, a pragmatist and a dreamer in one. He never really wanted the life he has and appears to have a longing to be a writer rather than a detective, a skill he claims is honed and mastered, even as Warm figures him out with relative ease. 

As for Riz Ahmed, I enjoyed how little is made of his ethnicity. It speaks to the way people could get by in the west for a time before civil society brought the class system to the west and with it the inherent racism of such. I don’t believe the invention Warm has come up with for getting to the gold is real but it is used brilliantly in the film’s tremendous third act which travels unexpected places among the four lead characters. 

The Sisters Brothers was directed by Jacques Audiard, a French director who also co-wrote the screenplay with his frequent collaborator Thomas Bidegain. Audiard’s best known film is likely 2005’s A Prophet which was nominated for a foreign film Oscar that year. That film was a wrenching drama about Arab man desperately alone in a French prison and slowly drawn into servitude for a French criminal. Like The Sisters Brothers, the film is unpredictable and uncompromising. 

Audiard loves his characters and he especially likes following his characters to unpredictable places. You may think you know where his stories are headed but he’s ready for you in the end. The ending of The Sisters Brothers will undoubtedly divide audiences who may want something more conventional and western-like. Remember, this is a mood piece, it’s about tone and character and the violence in the story extends from circumstance as much as it does from these remarkable characters. 

The Sisters Brothers is one of my favorite westerns of recent memory. It’s a moody, atmospheric piece with strong violence but stronger characters. It’s a bloody western but also a witty one with smart characters and an unpredictable, perhaps a bit strange story. The story unfolds in a conventional fashion but nothing of these characters is typical or easily predicted. The film is funny and yet, when it needs to be brutal, it can be brutal. 

One last note about The Sisters Brothers, it has one of the best musical scores of the year. Alexandre Desplat provided the score for the film and it is an elegant and sparse mood piece that fits brilliantly into the narrative of the movie. The deep strings and stark piano riffs are absolutely gorgeous, especially early on as the story is developing and the music reflects the sun drenched mountains and dry deserts of the film's stark visuals. It's completely engrossing and I was lucky to be listening to it as I wrote this review. 

Movie Review Stan & Ollie

Stan & Ollie (2018)

Directed by Jon S. Baird

Written by Jeff Pope

Starring John C. Reilly, Steve Coogan, Shirley Henderson, Nina Arianda, Danny Huston

Release Date December 28th, 2018

Published December 26th, 2018

Stan & Ollie is a late addition to my best of the year list. This wonderful film chronicling the final tour of the legendary comedy duo Laurel & Hardy is funny and poignant without ever becoming cloying or pushy. Steve Coogan and John C Reilly beautifully capture the history and the strain between the two great friends and partners as they attempt to salvage one last bit of glory before the spotlight fades for good.

In 1954, having not made a movie together in 15 years, Laurel & Hardy reunited for a tour of England in hopes of getting a movie project off the ground with an English producer. Things don’t get off to an auspicious start as their tour manager, Delfont (Rufus Jones) books them a run down hotel and a small theater that they are unable to sell out. Worse yet, the producer of their proposed film project won’t take Stan’s calls.

Things become so dire that it appears as if the tour will be cut short as ticket sales lag. Meanwhile, we cut to the back story of what led to their break up 15 years earlier. Danny Huston portrays legendary producer Hal Roach, the man who put the duo together and brought them to the big screen. While Ollie is content with their arrangement, Stan, who once partnered with Charlie Chaplin before his days in the movies, wants to make more money.

With Stan’s contract up, he’s managed to book a deal with Fox but only for Laurel & Hardy, not just for himself. The deal fell through when Ollie decided to remain with Hal Roach and even made a movie, Zenobia, without his long time partner. Zenobia wasn’t a hit and for more than a decade both men’s careers foundered. We don’t know what brought them back together but a payday in England appears to have been the reason.

Even still, the two have a tremendous stage act that we get glimpses of and those glimpses are hysterically funny. As the story progresses, the two begin to do press for the tour and eventually the tour begins to gain ground and sell out shows. Naturally, old tensions come back into light and the tour is thrown into chaos when it appears that Hardy’s health won’t allow him to continue.

Stan & Ollie was directed by Jon S Baird whose previous film, Filth, starring James McAvoy, is quite a departure from the gentle and sweet poignance of Stan & Ollie. Nevertheless, Baird does a tremendous job keeping a good pace and with cinematographer Laurie Rose, he’s crafted not just a funny movie, but quite a beautiful movie. Credit also goes to prosthetics makeup designer Mark Coulier for turning the lanky Mr Reilly seamlessly into the corpulent Mr Hardy.

I would be remiss if I didn’t also praise screenwriter Jeff Pope who worked from the book Laurel & Hardy: The British Tours by A.J Marriott. The dialogue, though mostly inferred, feels real, dynamic, and authentic. The lovely recreations of the Laurel & Hardy performances are wonderful but it is the private moments that resonate deeply, especially a near break up scene that plays as comedy for those who can’t hear the deeply hurtful things the two say to one another.

And then, of course, there are the two incredible performances at the center of the film. John C Reilly has earned both a Golden Globe and a Critics Choice Award nomination for his performance as Oliver Hardy and both are much deserved. Reilly, even under pounds of prosthetics finds the heart of Oliver Hardy in lovely fashion. He appears to have been a lovely man and while the film likely shaves the edges off of all of these characters, this is a lovely way to remember these men.

Steve Coogan in many ways has a much harder performance. Stan Laurel played the fool in many of the Laurel & Hardy movies, bumbling his friend into one silly bit of nonsense after another, but behind the scenes, Laurel was a force to be reckoned with. Laurel wrote much of the duo's routines for stage and screen and was even deferred to by many directors for how to film those routines, though he never earned a directors credit.

Coogan movingly captures the pain and frustration that made Stan Laurel so driven and yet so kind. He wasn’t wrong to want to get the duo more money, they were rather underpaid given their success, and it is a fine tribute to the man that he never stopped fighting for the recognition that he felt they both deserved, but especially for the endless hours of work he put in to make them so successful.

Stan & Ollie is a wonderful movie, a true crowd pleaser. It’s a movie that fans and friends and family of the legendary duo can be proud of. Yes, they had their petty differences and egotism but at the heart, they were showmen and dedicated friends. Stan & Ollie is the kind of tribute these two men deserve after so many years of being under-recognized behind contemporaries such The Marx Brothers, Buster Keaton and Charlie Chaplin and the copycats who came after such as Abbott & Costello and, to a lesser extent, Martin & Lewis.

Movie Review: Cyrus

Cyrus (2010) 

Directed by Jay Duplass, Mark Duplass

Written by Jay Duplass, Mark Duplass

Starring John C. Reilly, Jonah Hill, Marisa Tomei, Catherine Keener

Release Date June 18th, 2010 

Published July 4th, 2010 

John (John C. Reilly) is the consummate modern lonely guy in Cyrus. We meet him when his ex-wife, and unfortunately, his only friend, Jamie (Catherine Keener), catches him furiously pleasuring himself to internet pornography. This may not be the first time this has happened as instead of running away forever, Jamie stays to tell John she is getting married.

Jamie then forces John to attend a party the following night with her and her new soon to be hubby (Matt Walsh). With their encouragement John grows increasingly drunk and pathetic until finally he is caught peeing in the bushes outside the party. Thankfully, this latest humiliation is saved by Molly (Marisa Tomei) who, instead of being horrified by John's drunken behavior, somehow finds it charming. She saves him again a few moments later from a serious party foul and even has the guts to sleep with the guy.

Is Molly some kind human Lottery ticket ready to pay off with unending patience, warmth and understanding? It sure seems that way until the all too smitten John meets Molly's 22 year old son Cyrus who still lives at home and, as John quickly discovers, shares an entirely unwholesome intimacy with his mommy. No, there is no sex involved but when he seems to join her in the shower while John waits in the bedroom, the discomfort is of a creepy sexual fashion.

”Cyrus” is a comedy that thrives on discomfort for the characters and the audience. Our sympathy for John has a healthy layer of pity. Our feelings for Cyrus are more fearful than pitying, the way one regards a man on a bus mumbling under his breath. Cyrus may look harmless but his particular affectations are more than a little terrifying as is the way far too many people have grown used to it and are better able and willing to overlook it. 

From the character perspective you cannot help but find “Cyrus” effective, you feel everything these characters project in a painfully awkward fashion. The directors, Mark and Jay Duplass (Baghead, The Puffy Chair) attempt to mimic the awkwardness of their characters in their film style to far less effect. The style is, I'm told, mumblecore and in this incarnation it is a lazy mishmash of digital handheld photography and a script left mostly blank; supposedly for improvisation but more likely out of a general, hope for the best, negligence.

Thus my personal conundrum; do I like “Cyrus” or not? I'm not sure. I'm no fan of the film style but these characters, as assembled by this top notch cast, are undeniably effective even at their most repellent. John C. Reilly's pathetic sad sack develops astonishing romantic chemistry with Marisa Tomei's warmhearted savior.

And then there is Jonah Hil as Cyrus, a role that is as repellent as it is intended. You know Hill is effective when his Cyrus actually renders Tomei's mommy character unattractive, a feet of Herculean creepiness. This is easily Hill's most challenging role to date and he rises to the challenge allowing Cyrus to be something more than merely frightening, like some low budget horror creep with mommy issues, but a more complexly off-putting type. 

Now, before you accuse me of wanting every movie to look and feel the same, let me state that I have no issue with Mumblecore as a whole. Rather, I just have yet to see this style be effective on screen beyond being merely different. There is something highly pretentious in this low budget movement, as if it were trying to shame us all for enjoying movies with bigger budgets and better known filmmakers.

A great cast in a not so great movie, “Cyrus” is oddest disappointment of 2010.

Movie Review Ralph Breaks the Internet

Ralph Breaks the Internet (2018) 

Directed by Rich Moore, Phil Johnston

Written by Phil Johnston, Pamela Ribon

Starring John C. Reilly, Sarah Silverman, Gal Gadot, Jane Lynch, Jack McBrayer, Alfred Molina

Release Date November 21st, 2018 

Published November 20th, 2018

Ralph Breaks the Internet is the most surprising movie of 2018. I expected the sequel to 2012’s Wreck it Ralph to be entertaining, sweet and funny like the original. What I was not expecting was for Ralph Breaks the Internet to have such a complex and emotionally fertile story, one that would leave me in tears of thoughtful joy. I had no idea that the makers of Ralph Breaks the Internet would offer one of the smartest, warmest and most mature stories of 2018 to tell.

Ralph Breaks the Internet picks up 6 years after the events of the original story with Ralph (John C. Reilly) and his best pal Vanellope (Sarah Silverman) still tied at the hip and, in Ralph’s mind, living the dream. Each day is the same, go to work and have fun and then meet up at the Tapper game and drink root beer and laugh till the day starts all over again. Ralph could not be more content with things but Vanellope is beginning to get restless.

Tired of racing and winning on the same three candy tracks in her game Sugar Rush, Vanellope confesses to Ralph that she wishes her game would be a little different from time to time. Thinking he can fix his friend’s problem, Ralph uses his strength to tear apart the background of Sugar Rush to create a new, more challenging track. Vanellope is excited to try it but while she’s racing the new track the person playing her game breaks off the steering wheel.

Because the game is broken, Sugar Rush is turned off and Vanellope and her fellow Sugar Rush cast are now homeless. The only way to save the game from being recycled for parts is to find a new steering wheel. The only place to find a vintage, intact, Sugar Rush steering wheel is the internet where one awaits on EBay. With Vanellope in tow, Ralph enters the newly installed internet port at the arcade and the two are off to the races inside the internet.

The satire of internet culture was something I was concerned would become obvious or cheesy but I must say, it’s spot on. The gags here are inspired as the creators of Ralph Breaks the Internet find one winner of a gag after another. It’s not perfect, there are a couple groaners here and there, but what Ralph Breaks the Internet does well is be consistently inventive in how the movie presents everything from EBay to video streaming to search engines.

As the story builds momentum a theme begins to reveal itself as Vanellope begins to find her place on the internet, especially in a Grand Theft Auto inspired online game called Slaughter Race. Wonder Woman star Gal Gadot gives voice to Shank, the best racer in Slaughter Race who takes an immediate liking to Vanellope. The two have a lot in common, despite the obvious differences in their game and Ralph begins to worry that Vanellope might have a friend other than him.

Amid the gags about insidious internet ads, get rich quick schemes and viral videos, Ralph Wrecks the Internet cleverly tackles a story that all kids will face in their own lives about how you have to make room in life for the lives of others. Ralph will slowly learn that because he was content with the status quo it doesn’t mean his best friend was just as happy. He’s going on a journey to learn how to be mature and respect that friends can want different things and still be friends.

It’s a lesson that even adults can stand to learn. The idea of learning to respect other people instead of demanding only what you want is a lesson too many adults haven’t fully learned. The final act of Ralph Breaks the Internet deals with insecurity and fear in a manner that is absolutely perfect and highlights how we all can feel insecure sometimes but it’s how we maturely come to terms with our insecurity that defines us as a person.

That is a brilliant and fresh piece of storytelling that could not be more important for both children and adults. That the film is also wildly funny and artfully animated only underlines why Ralph Wrecks the Internet isn’t merely the best animated movie of 2018, it’s one of the best movies of 2018 full stop. I rank this number 2 on my favorite movies of 2018, right behind a completely different but brilliant work of horrific art, Hereditary.

I completely adore Ralph Wrecks the Internet. I laughed loudly and easily and by the end I was deeply moved and quite emotional. This is the feeling we hope to have when we go to any movie, this just happens to be an animated movie intended for children. It may be aimed at kids but Ralph Wrecks the Internet can reach any audience, the film is simply brilliant on all levels, of the best movies of this year and animated milestone for this decade.

Movie Review Step Brothers

Step Brothers (2008) 

Directed by Adam McKay

Written by Adam McKay, Will Ferrell

Starring Will Ferrell, John C. Reilly, Richard Jenkins, Mary Steenburgen, Adam Scott, Kathryn Hahn

Release Date July 25th, 2008 

Published July 24th, 2008 

My sister and I have a long running disagreement about the comedy of the absurd. She loves the strange, the bizarre and the out of context. I prefer a comedy with some structure, comedy with an idea behind it, a strong sense of character. That said, even with my sisters great tolerance for absurdity, even she will have a hard time enjoy the depths of absurdity plumbed in Step Brothers, the latest dumb guy comedy from the Will Ferrell factory.

Brennen (Will Ferrell) and Dale (John C. Reilly) are two 40 year old virgins who barely left the womb, let alone their respective parents' homes. Brennen's mom Nancy (Mary Steenbergen) happens to have met and fallen in love at first sight with Dale's dad Robert (Richard Jenkins). Now Brennen and Dale are step brothers and they are none to happy about it.

Setting about destroying each other, Brennen and Dale engage in an ugly and occasionally funny, escalation of nasty pranks all of which seem to reveal how much more they have in common than against one another. When Brennen's successful younger brother Derek (Adam Scott) shows up and Dale ends up punching, the step brothers finally realize all they have in common. Unfortunately, Dale and Brennen's hijinks as enemies and friends drive their parents to divorce. Now they must try and grow up or lose their family.

My description of the plot is much more conventional than the actual plot of Step Brothers which amounts more to throwing a series of gags at audiences than much of anything you might consider a plot. Director Adam McKay, who co-wrote the script with Ferrell, attempts from time to time to bring some structure to Step Brothers but the urge for non-sequitur gaga becomes too much to resist. Some of the gags are funny, some are embarrassing; for both actor and audience, and others just leave one to ponder other things they could be doing with their time, like watching The Dark Knight again.

So what is funny about Step Brothers? Mary Steenbergen's brief cursing fit gets a good laugh as does Richard Jenkins' ever increasing frustrations. Ana Gasteyer's astonishing dirty talk will stun and still get a good laugh and a dog belonging to a blind neighbor gets a laugh as well. Otherwise, Ferrell and O'Reilly's antics as Brennen and Dale are more awkward than funny, more mean spirited than good natured.

Is the idea of children beating up Ferrell and O'Reilly kind of funny? Yes. In execution however the scene simply isn't funny. When the scene is reprised later you know what will happen and again it's not very funny. These scenes are like most in Step Brothers, random, flailing attempts at jokes that miss far more than they hit.

Much of Step Brothers plays as if Ferrell, Reilly and McKay sat down and started throwing around gags, regardless of context and decided to just throw everything in and hope something would work. Because these are very talented guys, some of it does make you laugh. Just as much however makes you cringe or merely embarrassed for yourself and the performers.

Movie Review: A Prairie Home Companion

A Prairie Home Companion (2006) 

Directed by Robert Altman 

Written by Garrison Keillor 

Starring Woody Harrelson, Meryl Streep, Tommy Lee Jones, Garrison Keillor, Lindsay Lohan, John C. Reilly, Kevin Kline

Release Date June 9th, 2006 

Published June 8th, 2006 

Words like quaint and charming are anachronistic in this day and age. They are anathema to modern audiences bred on irony and detached perspective. Garrison Keillor's A Prairie Home Companion has always been of another time. A time when quaint and charming were far from insulting, they were the height of faint praise, as Keillor himself might say.

Now that A Prairie Home Companion has been brought to the big screen, under the direction of the legendary Robert Altman, you might fairly assume that it has been somehow updates, jazzed up somehow for modern audiences. That is thankfully not the case. A Prairie Home Companion is as old fashioned as has always been on Minnesota Public Radio and the throwback nature is one of the films many great pleasures.

In the era of irony a little earnest homespun humor is just the thing to warm your heart and give you a good tickle. It's the last night for the cast and crew of A Prairie Home Companion. For 30 some years the WLD radio variety show has emanated from the Fitzgerald theater in St Paul Minnesota. However, now that the longtime heritage station has been sold to a major corporate chain, the show's over.

This is distressing news to long time performers like the Johnson Sisters, Yolanda (Meryl Streep) and Rhonda (Lily Tomlin) who have performed on the show since it's inception. Yolanda's late husband was the inspiration for the show and Yolanda had hoped her daughter Lola (Lindsey Lohan) might one day perform there one day.

Also distressed at losing their regular gig are the singing cowboys Dusty (Woody Harrelson) and Lefty (John C. Reilly) whose ribald tunes about life on the plains are one of the shows humorous highlights, unless your the shows harried producer worried about FCC violations.

Seemingly unaffected by the sadness of the last broadcast is the shows longtime host G.K (Garrison Keillor) who is intent on making the very last show just like the first one. Refusing any attempt at evoking audience sympathies, G.K will not say thank you or goodbye in any kind of grand fashion. Why even when one of the shows older performers passes away in his dressing room mid-show G.K refuses an on air eulogy telling the cast that if he were to start eulogizing his friends at his age he wouldn't stop till he was dead himself.

Lurking in the background backstage is the shows head of security an oddball right out of a fifties private eye movie the aptly named Guy Noir (Kevin Kline) when he's not watching the door or providing a running commentary, Guy searches for a mysterious blonde in a trench coat only known as A Dangerous Woman (Virginia Madsen).

Saturday Night Live's Maya Rudolf and the real life band and singers of the radio show A Prairie Home Companion round out the cast of this deliciously simple showbiz comedy. Simple in terms of smart character driven humor and old school showbiz pizazz.

Lurking behind this behind the scenes comedy is a bizarre whimsy that is pure Robert Altman. In bringing to life Garrison Keillor's radio show, Altman has brought literal life to some of his fictional characters including the aforementioned Dusty and Lefty and most importantly Guy Noir who has long been Keillor's favored creation outside the denizens of the fictional town of Lake Woebegone.

Guy's whole persona and function in the film are a delightful mixture of detective movie parody and straight comedy and in the person of Kevin Kline these elements reach a near symphony level of comic timing and perfection. Kline is more than worthy of a supporting actor nomination as the standout of this brilliant ensemble.

Meryl Streep provides the emotional center of A Prairie Home Companion. Yolanda is more than just a performer on the show, in the films history her family is entwined in the history of the show. Her husband was G.K's partner before he passed on. Yolanda herself was for a time entwined with G.K and her daughter has been coming to the show with her since birth.

Her colorful history, only alluded to, colors the film and brings depth to the emotions that resonate from her especially while on stage with her voice breaking belting out the same old time gospel songs she and her sister have sang on the show for years.

Streep's performance is not perfect. She along with Harrelson and Reilly occasionally betray their performances by allowing Hollywood affectations to leak through their Midwestern patois. Overall though the performances are universally strong.

Maybe most surprising of all is Garrison Keillor. Playing himself is certainly the kind of comfort zone any actor can thrive in but Keillor does truly impress with his deft wit and comic timing. Anyone who listens to his real life show on a regular basis will likely recognize that this is typical Garrison Keillor but the uninitiated will likely be very impressed with the his sleight of hand phraseology and warm charismatic nature.

In his most recent directorial effort the ballet drama The Company Robert Altman directed as if the whole thing bored him. The director was constantly allowing the camera to wiggle around and wander away from the actors, when they weren't dancing. It was as if he were directing from a script he didn't much care for and simple set the camera and walked away when he wasn't enjoying the ballet performances.

A Prairie Home Companion is a return to form for the great director. Fully engaged and even modestly excited about this smart, homespun material, Altman seems to delight in every last detail from Keillor's wacky fake product commercials to the style of Kevin Kline's haircut meant match that of a bust of the great F. Scott Fitzgerald whose bust is prominently displayed in the theater that is named for him.

A Prairie Home Companion is a masters class in Altman's managed chaos style. The film floats backstage to look in on Guy Noir and the backstage happenings and then simply glides back on to the stage for another song and a story. The flow is hypnotic when it's not laugh out loud funny. This is one of Robert Altman's best efforts in a very long while.

Quaint and charming may be curse words in this day and age but not in relation to this wonderfully quaint charming comedy from a master director and a master storyteller. A Prairie Home Companion is one of the best films of the year.

Movie Review The Good Girl

The Good Girl (2002) 

Directed by Miguel Arteta

Written by Mike White 

Starring Jennifer Aniston, Jake Gyllenhaal, John C. Reilly, Tim Blake Nelson

Release Date August 7th, 2002 

Published August 7th, 2002 

I sometimes wonder why I watch Friends. Was it the marketing hype? Was it the fact that seemingly everyone else watches it? Or. is the show actually pretty good. Honestly I'm not sure but I think that I like it because of the potential in the cast. Each member of the Friends cast has the talent to do something great. None has so far achieved that greatness.

Until now.

In The Good Girl, Jennifer Aniston is Justine Last, a bored to death cosmetics clerk at the Retail Rodeo. Justine hates her job and her coworkers, only tolerating their existence to make the job bearable. On top of that Justine is trapped in a loveless marriage to a lazy, shiftless pothead named Phil, expertly played by John C. Reilly. Phil and his pal Bubba (Tim Blake Nelson) paint houses together and spend most of their off hours on Justine's couch smoking weed.

Into all this comes Holden (Jake Gyllenhaal) a new hire at the Retail Rodeo. Holden is quiet and sad, always keeps to himself and Justine admires and envies his solitude. The two strike up a friendship that quickly moves to the bedroom. Of course things are never that easy. While Holden falls madly for Justine, she is unable to overcome her fears and leave her husband. After the excitement of leading the double life of wife and adulterer wears off, Justine begins to see Holden for who he truly is, an emotionally disturbed 22 year old child. The solitude and freedom she loved and coveted were products of cold indifferent parents and not her romantic notion of the tortured artist.

Aniston is superb. Her performance is raw and real. The decisions her character makes are at times shocking and dumb but the mistakes are made poignant by the desire for freedom that caused them and by Aniston's sympathetic eyes that seem constantly on the verge of tears. Aniston's supporting cast is equally strong, especially John C. Reilly who makes the husband's cluelessness endearing and sympathetic. In a great scene near the end, we find out why Phil smokes pot so much, a scene that is funny, touching and cathartic.

Gyllenhaal continues his odd streak of films from Bubble Boy to Donnie Darko and now this. In this film we see almost a repeat of his Darko role but with more sadness and rage. Writer Mike White and director Miguel Arteta teamed previously on the much buzzed about pic Chuck & Buck. After seeing The Good Girl, I desperately want to see Chuck & Buck. If it's as good as The Good Girl, we could have the next hot indie team on our hands.

The Good Girl is an art film with a pop sensibility provided by the casting of Aniston shedding her Friends role and becoming a great actress. This film could actually go down in history as the movie that killed Friends. With Aniston getting such terrific reviews and Oscar buzz it won't be long before she leaves the small screen for good.

Movie Review The Extra Man

The Extra Man (2010) 

Directed by Sherri Springer Berman, Robert Pulcini 

Written by Sherri Springer Berman, Robert Pulcini 

Starring Kevin Kline, Paul Dano, Katie Holmes, John C. Reilly 

Release Date July 30th, 2010 

Published August 14th, 2010

The thrill of watching Kevin Kline work has never ceased for me. When Kevin Kline is on he is arguably the most compelling actor of his era. In his latest effort, “The Extra Man,” Kline is on like gangbusters in a role that is beyond quirky and into a realm of peculiarity that few actors could sustain and remain believable.

The Extra Man stars Kevin Kline as a gentleman of leisure, a man about town. Kline's Henry Harrison is a failed playwright living in semi-squalor off of the kindness of wealthy friends. Into Henry's life comes Louis (Paul Dano) a kindred soul with a literary heart who fancies himself the modern incarnation of F. Scott Fitzgerald's Nick Carraway from The Great Gatsby.

That is if Nick Carraway liked to dress in drag. Yes, Louis has an issue with wanting to dress as a woman, a fetish opposed vehemently by Henry but indulged by Louis with the help of an understanding prostitute played by Patti D'Arbanville. Is Louis gay? He's not sure; he may or may not have feelings for a co-worker at his new job, Mary played by Katie Holmes.

What is Henry's orientation? A gentleman would never discuss such a thing. Henry's job, such as it is, and the field that he introduces Louis to is as an extra man. What is an extra man you wonder? He is a gentleman who squires older women about town to the opera or a dinner party or a fancy restaurant. Henry lives for his work but whether he performs the duties of a gigolo is yet another thing a gentleman never tells.

No doubt your quirk-ometer is on overload just from my description. What makes “The Extra Man” all the more odd and wonderful is how the characters and indeed the filmmakers play as if nothing were odd about this at all. Director's Sherri Springer Berman and Robert Pulcini direct “The Extra Man” with such quiet dignity and self seriousness that the oddity is tamed into something resembling an existent reality.

”The Extra Man” is weirdly warm, humorous if not laugh out loud funny and has a wealth of charm. Kevin Kline relishes playing Henry Harrison and the life he gives this character leaps off of the screen. Young Paul Dano remains the most quirky of all modern actors. There is a certain pre-destiny in his becoming an Oscar winner yet stardom seems to be something he will fight against with all of his quirky will.

Berman and Pulcini too will likely never become blockbuster, a-list directing talents. They are too independent, too in their own heads to ever compromise enough to create a hit. Like the best of auteurs they will succeed despite their instinct for art over commerce. “The Extra Man” is certainly art over commerce. There was never any hope this would be a hit and never any attempt to make it so. In that sense the movie is as wonderfully quirk ridden as its main character.

Movie Review Talladega Nights The Ballad of Ricky Bobby

Talladega Nights The Ballad of Ricky Bobby (2006) 

Directed by Adam McKay 

Written by Will Ferrell, Adam McKay 

Starring Will Ferrell, John C. Reilly, Sacha Baron Cohen, Amy Adams, Gary Cole, Leslie Bibb

Release Date August 4th, 2006 

Published August 3rd, 2006 

Will Ferrell struggled through 2005 with a pair of potential blockbusters that went belly up. Kicking And Screaming and Bewitched were Ferrell's attempt to solidify his star status outside the auspices of his frat pack pals Vince Vaughn and the Wilson brothers and they failed. With his first effort of 2006 Ferrell returns to safer territory. Under the guidance of his Anchorman director Adam McKay, Ferrell gets back in the comedic driver seat in Talladega Nights: The Ballad of Ricky Bobby.

Using their Anchorman formula, McKay and Ferrell simply adapt Anchorman to the Nascar track. Take an arrogant simpleton seemingly on top of the world. Pull the rug out from under him and then watch as he crawls back to the top as improvised comic madness rains all around him. Some may fault the formulaic approach but you can't deny that this formula works.

Ricky Bobby (Will Ferrell) is the number one driver in all of Nascar. His risky style has him finishing first or crashing the car and not finishing at all. With the help of his teammate Cal Jr (John C. Reilly), Ricky Bobby's place in the winner circle every week is assured. That is, until the arrival of the French formula one champion Jean Girard (Sacha Baron Cohen) who arrives gunning for Ricky Bobby.

In their first showdown, Girard gets the best of Ricky when Ricky is involved in a major crash. The aftermath of the crash has Ricky thinking he is paralyzed and leads to his being unable to drive fast anymore. Can Ricky get over his fears, get back in the car and win at Talladega again or will he be delivering pizzas on a huffy bike the rest of his life.

That is what passes as a plot for a plot in Talladega Nights though plotting is not something director Adam McKay and star Will Ferrell are all that interested in. Working from a script left open for much improv, the point of Talladega Nights is crafting gag after gag after gag. Some of the gags don't work, many more do work and produce big, big laughs. In particular watch out for Will Ferrell improvising a unique dinner blessing and Ferrell's inspired reaction to his harrowing 'fiery' crash.

The talented cast of Talladega Nights, lead by Ferrell, Reilly and Cohen and backed up more than ably by Michael Clarke Duncan, Jane Lynch and Gary Cole, turns out some terrifically inspired moments of sheer goofiness and energetic weirdness. Much of the humor is based on what must have been hours of improvisation.

If there is one problem with the cast it's with the film's use of Oscar nominee Amy Adams. Hired to play Ferrell's secondary love interest, Adams is introduced early on and then abandoned. She returns but not until the third act and even then is limited to one terrifically eccentric monologue. There is no question from this monologue that Adams can hang with this terrific troop of improv actors but it seems that much of her role is on the cutting room floor.

Talladega Nights is deeply flawed as a typical three act film. The story arc is weak and the storytelling is disjointed. But, none of that really matters once you accept that all of this goofiness isn't really a movie as much as it is a series of gags. Some of these gags are funny, some are very funny and some fall flatter than a blown tire.

Sacha Baron Cohen has star potential rolling off his every mangled syllable. His upcoming comedy Borat, based on a character from his HBO show The Ali G Show, is generating big buzz. Talladega Nights is an excellent introduction of his talent for weird accents and highly eccentric characters. Watching Cohen and Ferrell riff back and forth, Cohen with his astonishingly incomprehensible French accent and Ferrell with his simpleton's twang, in several confrontational scenes is pure comic gold that, no doubt, left plenty of material for a DVD worth of improv riffs, some of which you can see over the films credits.

In a cast filled with scene stealers Gary Cole nearly walks away with the entire picture as Ricky's no good, low down, drug dealing, car racing daddy Reese Bobby. Known more for his buttoned down simps, Bill Lumberg in Office Space or the Vice President on The West Wing, Cole shows a surprising talent for being a dirtbag. With a beer in his hand, a twang in his voice, and clothes that almost stink through the screen, Cole is pitch perfect as a redneck deadbeat.

Talladega Nights: The Ballad Of Ricky Bobby is very funny as a series of Nascar based improv skits. As a movie it's a disjointed, often ridiculous exercise in plot mechanics and minor melodrama. I found the film left a lot to be desired in terms of great filmmaking but that is a minor concern when a movie makes me laugh as much as I laughed during Talladega Nights.

Movie Review Gangs of New York

Gangs of New York (2002) 

Directed by Martin Scorsese 

Written by Jay Cocks, Steven Zaillian, Kenneth Lonergan 

Starring Leonardo DiCaprio, Daniel Day Lewis, Cameron Diaz, John C Reilly, Jim Broadbent 

Release Date December 20th, 2002 

Published December 18th, 2002 

The argument rages on as to who our greatest living director is. Certainly an argument can be made that there is no more popular and well known filmmaker than Steven Spielberg. The quality of Spielberg's work is impeccable. But when you talk about artistry in filmmaking and storytelling there is none more talented than Martin Scorsese. Though some may argue his work is too “East Coast,” that it lacks mainstream appeal and thus is not popular, the man' artistry is too great to deny. Scorsese's latest work, though again very “East Coast,” is nonetheless another work of stunning artistry.

Gangs Of New York is not just the story of its lead characters, Bill "The Butcher" Cutter (Daniel Day Lewis) and Amsterdam Vallon (Leonardo DiCaprio). It's also the story of our country and how it was forged in the blood and sweat of immigrants. It's a history that many don't like to reflect on. A history of incivility and murder, of prejudice and inhumanity. This is no wondrous tale of how Lincoln led the charge to freedom, it's far too honest to make a hero of anyone ,even a sacred cow like President Lincoln.

Gangs Of New York takes place on the fringe of the Civil War, in the ghetto known as Five Points where the Irish immigrants fleeing famine in their home country have established a foothold. Opposing Irish immigration is a group calling themselves The Natives led by Bill the Butcher. A vicious crime lord, The Butcher's hatred of the immigrants leads to a showdown in 1846 that would decide control of Five Points. Leading the immigrants is a man known as Priest Vallon (Liam Neeson). Though not a real Priest, he wears a collar and carries a staff with a cross on it which he uses as a weapon.

In this opening showdown Priest is killed by The Butcher, who claims control of Five Points. Witnessing the bloody carnage from the sidelines, young Amsterdam Vallon witnesses his father’s murder and vows revenge on The Butcher. Amsterdam is taken away from Five Points and sent to a prison school called Hell's Gate until he is of age. Years later Amsterdam returns to Five Points to claim his revenge.

Amsterdam is quick to find that the neighborhood has changed a lot and The Butcher is still in control. In fact he is now now more than just a vicious thug, The Butcher has made inroads in politics, buying the freedom of his syndicate through his relationship with New York's political leader Boss Tweed (Jim Broadbent). Killing The Butcher will not be easy, so Amsterdam schemes his way into The Butcher's inner circle with the help of a friend named Johnny (Henry Thomas). Once in close contact with the butcher however Amsterdam is nearly seduced by his charm and honor. 

There is no doubt that The Butcher is a cold blooded killer but he is also an honorable fighter who has, ever since the great gang battle of 1846, honored the memory of Amsterdam's father with a massive celebration. The butcher is unaware of Amsterdam's identity until Johnny, jealous of Amsterdam's relationship with a lovely pick pocket, Jenny Everdeane (Cameron Diaz), tells Bill the truth and nearly gets Amsterdam killed.

In a scene of incredible staging, Amsterdam makes an attempt on The Butcher's life during the celebration of his father’s death. He fails, but The Butcher, now aware of Amsterdam's true identity, shows mercy on Amsterdam and allows him to walk out, but not before scarring his face with a hot blade. This leads to the film’s climactic street fight between the immigrants and the natives. A combination of civility and brutality, which begins with a meeting between the gangs to decide on rules, weapons and a date and time for the fight.

How historically accurate is Gangs Of New York? Well like any Hollywood film, there will always be artistic license whether you like it or not. Scorsese has repeatedly stated his meaningful attempts at accuracy, which many see as the reason the film’s budget ballooned past the 100 million-dollar mark. Indeed the costumes and cobbled streets seem to fit what is known of the era. Not many history books outside the state of New York tell the story of the 1860's such as the draft riots which lead to bloody battles in the streets between New Yorkers and union soldiers. Indeed that actually happened whether we want to remember it or not. Similarly, people would like to forget the corruption and violence of 5 Points and the Gangs of New York. 

History lesson or not, Gangs Of New York is an enthralling tale told by a master storyteller. Scorsese is in complete control and the passion he clearly has for this material, which he has wanted to film for 20 plus years, is expressed remarkably on the screen. The Oscar buzz surrounding the performance of Daniel Day Lewis is more than justified. Lewis' Butcher is a seductive villain, charming and cunning. Even Amsterdam, who has for years thought only of killing him, is briefly seduced by him because despite his evil, he has honor and lives by a code of the streets that is long gone.

But while everyone praises Daniel Day Lewis these days, I would like to call attention to DiCaprio who makes a real statement in this film. DiCaprio has grown up and though he still carries many teenybopper fans who swoon at his every word, we critics can no longer write him off as a guy who trades on his good looks. In Gangs Of New York, DiCaprio steps up to the big time and now must be taken seriously as an actor of depth.

Gangs Of New York is epic filmmaking in every way possible. It has scope and scale but not at the expense of character development and scripting. The production value and performances and script all come together under the craftsmanly eye of Scorsese who makes yet another masterpiece. If Scorsese doesn't win best director this time around there is something very wrong with the world. Gangs Of New York is one of the best films of the year.