Classic Movie Review The Paper

The Paper (1994) 

Directed by Ron Howard 

Written by David Koepp, Steven Koepp

Starring Michael Keaton, Marisa Tomei, Randy Quaid, Glen Close, Robert Duvall

Release Date March 18th, 1994 

Published 

The Paper stars Michael Keaton as Henry Hackett, Metro Editor for a New York City tabloid perpetually on the brink of closing. With a baby on the way, with his reporter wife, Martha (Marisa Tomei), Henry is plotting an exit from the paper. On this day, as we join the story, Henry has an interview with a Wall Street Journal style, internationally respected newspaper. Henry doesn't want the job. He wants the money but he'd much rather stay at his current employer where he can get his hands dirty. Instead of being behind a desk with a fat paycheck, Henry needs the excitement of the metro page. 

Making Henry's choice to stay or go at his current gig difficult is his rival, Alicia (Glenn Close). Alicia is a former reporter and editor who is now a bean counter. She makes big decisions based on budgets instead of journalism and Henry resents her for switching sides. Henry doesn't want to end up working under Alicia and her penny pinching, thus another reason he's considering leaving. Holding him in place is his current boss, Bernie (Robert Duvall), a legendary editor and the final word at the paper. As long as Bernie is there, Alicia is mostly neutralized. But how much longer does Bernie have? 

These questions roil beneath the surface creating tension while the bigger story begins to unfold. The paper has missed a big story. Last night, a pair of businessmen were gunned down and every other newspaper in town ran with the story. The paper is playing catch up and Henry is determined not to get scooped for a second day in a row. He wants to know the moment an arrest is made so they can get the picture and the story on the front page that night. But first, what if the story is wrong? What if the eventual arrest of two black teenagers for the crime is wrong? 

Find my full length review at Geeks.Media 

Movie Review The Flash

The Flash (2023)

Directed by Andy Muschietti 

Written by Christina Hodson

Starring Ezra Miller, Michael Keaton, Ben Affleck, Michael Shannon, Maribel Verdu 

Release Date June 16th, 2023 

Published June 14th, 2023 

Let's address the elephant in the room. There are numerous stories regarding the life of Ezra Miller that demonstrate that they may not be a good person. There's been allegations of abuse, grooming, and other types of criminal behavior, including kidnapping and, for a time, he was even suspected of murder. It's incredibly hard to objectively look at Miller's work and separate that from the person. I'm going to try and do that in this review but I want to make it very clear that regardless of how I feel about Miller's work and the movie The Flash, Miller has a lot of things to answer for and this review is not intended in any way as a co-sign of Miller the person. 

The Flash stars Ezra Miller as Barry Allen, super-hero. Having been introduced in the Snyder-verse of the DCU, The Flash is now almost the last of a dying branch of a franchise. And yet, despite that negative energy running in the background of the movie, The Flash manages to be quite good. Against many odds indeed, director Andy Muschietti, famous for his deft and ingenious work on It Chapter 1 and Chapter 2, has delivered a rousing, emotional and wildly inventive super hero blockbuster. It's not without its flaws but those may be inherent to behind the scenes development where producers plotted this film with sequels in mind that are now unlikely to happen. 

We pick up the story of Barry Allen as he is helping Batman/Bruce Wayne (Ben Affleck), respond to a heist that turns into a dangerous and deadly building collapse. Baddies have stolen a deadly biological weapon from Gotham General Hospital and while Batman goes after the weapon, it's up to Barry to save the patients and staff of the now collapsing and on fire hospital. In a visually dynamic, if slightly tedious segment, Barry rescues a group of babies falling from near the top of the collapsing building. In time lapse we watch as Barry comedically but necessarily snacks while in the air, snatches baby after baby out of the air, saves a nurse and a therapy dog, all while a massive building is collapsing over them all. 

This is an objectively terrific display of the powers of The Flash and the humble, sweet, but unusual character of Ezra Miller's The Flash. Miller's Barry Allen is sweet, shy, and anxiety ridden. He's a reluctant hero whose journey is one in which he confronts his mistakes, his past, his pain and trauma, and grows up before our eyes. He becomes more and more of a hero as he discovers himself and sees the errors of his ways. He's always been headstrong, even as his nature is to wilt in front of people. Here that headstrong quality is met with a self-examination that causes Barry to become more responsible, more like the hero Batman/Bruce Wayne believes he can be. 

It's a terrific arc that takes on a tragic, sad, and lovely melancholy as Barry longs for his late mother and the family that was shattered by her murder. Following a conversation with his father (Ron Livingston, currently behind bars, accused of killing Barry's mother, Barry uses the speed force to travel back in time to see if he can save his mother. Barry's mother is played by Maribel Verdu and she is utterly incredible in this relatively limited role. In her brief screen time, Verdu elevates otherwise familiar material about how we mythologize and simplify the memories of our beloved parents with an ethereal kindness, an impossible level of charisma, and a radiant loving presence. Verdu floored me in her few scenes. 

In lesser hands than hers, and director Andy Muschietti, Barry's mother, Nora Allen, could be a plot device. But with the incredible work of actor and director, the role feels rich, alive and beautiful well beyond the plot and her function within it. The mother/son chemistry of Verdu and Miller is incredibly powerful and it builds to an emotional climax that I was not expecting, one that hit me right in the heart. I'm perhaps personalizing this too much, but having lost a really great mom, one very reminiscent of this conception of Nora Allen, I was deeply touched by their bond. That this is also the motivation for the plot and all of the action that Barry takes in this plot means that the whole movie gets a charge from this chemistry. It's so strong for me that I think the movie might be as good, or even better on a rewatch because you would go in knowing just how powerful that relationship is and how devastating and emotional it all will become. 

Click here for my full length review at Geeks.Media 

Movie Review: A Shot at Glory

A Shot at Glory (2002) 

Directed by Michael Corrente 

Written by Denis O'Neill 

Starring Robert Duvall, Ally McCoist, Brian Cox, Kristy Mitchell, Cole Hauser, Michael Keaton 

Release Date May 3rd, 2002 

Published August 5th, 2002

Robert Duvall may be the most under-appreciated actor in the business. Despite his awesome resume, Duvall is not offered the roles that go to the actors of his age and class such as Deniro, Eastwood, Pacino and the like. The reason is likely his lack of leading man looks, but what he doesn't have in looks he makes up for with pure acting chops.

Easily one of the best actors going today Duvall still has a hard time getting a movie greenlighted, struggling with the film The Apostle for nearly 20 years. The soccer movie A Shot At Glory is another of Duvall's passion features, co-written and financed by Duvall himself. Though the film isn't as good as The Apostle the film once again showcases Duvall's amazing talent.

A Shot At Glory tells the story of a tiny Scottish soccer team trying to compete with the big boys. Duvall is the teams coach Gordon McLeod, a former player with the major league team The Rangers whom he now feuds with over incidents not fully explained. Michael Keaton is the owner of Duvall's team, Peter Cameron, a brash American who wants to move the tiny team to the bigtime by taking the team and it's players from it's home in Kilknockie, Scotland to Dublin, Ireland. Cameron thinks he can make the team more marketable to the Irish investors by acquiring past-his-prime soccer star Jackie McQuillan, played by real Scottish soccer legend Ally McCoist.

McQuillan is an egocentric jerk, overcoming a drinking problem, but also Gordon's son in law, though Jackie and his wife are separated. Parallel to the main story is that of Gordon's daughter, British stunner Kirsty Mitchell as Kate McQuillan. Gordon doesn't speak to his daughter since she married Jackie. It has little to do with Jackie's being a jerk, though, it is because Gordon is Protestant and Jackie is Catholic and the marriage took place outside of either church. The rivalry of Protestants and Catholics is vicious at times, even resulting in violent feuds that often spill over onto the soccer field.

Cole Hauser rounds out the cast as a rookie American goalie who is pressed into duty as the team surprisingly advances through Scotland's biggest soccer tournament.

No doubt about it A Shot At Glory is a sports movie bound by that genre’s many clichés. The aforementioned Hauser only plays after the starting goalie is injured and, wouldn't you know it, the rookie is forced to play in the two biggest games of the season. As for Gordon, what a shock when he is forced to play his former team, The Rangers, in the big game and face his hated rival Martin Smith (Brian Cox).

Though the film is steeped in sports movie clichés, the soccer scenes are well presented thanks to cinematographer Alex Thomson who makes his living as a soccer cameraman. Thomson knows how to film the action and given the tools of a handheld cameras and super 16 film, Thomson gives the film a realistically gritty look.

Duvall is excellent, his mere presence elevates even the film’s most leaden moments to passably interesting. Saddled with a difficult Scottish accent and some very dull and obvious dialogue, Duvall still manages to be entertaining and engaging. The real surprise though is Scottish soccer star Ally McCoist who really holds his own against Duvall and comes off very natural.

A Shot At Glory almost never got made. Duvall had set the film up with a Hollywood studio with Russell Crowe attached to play the soccer star. Crowe however pulled out at the last minute and Duvall was forced to make the film independently. Nevertheless, Duvall has crafted an above average sport movie that rises above genre convention to be an entertaining little movie.

Movie Review: Dumbo

Dumbo (2019)  

Directed by Tim Burton 

Written by Ehren Kruger

Starring Danny Devito, Colin Farrell, Michael Keaton, Eva Green 

Release Date March 29th, 2019

Published March 28th, 2019 

Dumbo is a good movie that I feel good about recommending. The film is solid, well-made, sturdy, family entertainment with just enough laughs and good nature to make it work. I find myself in an odd position with this statement however as I have received some backlash from my radio review of Dumbo. On the radio, I said that I liked the movie, that it was ‘good enough.’ This led to more than one listener asking me why I ‘don't like’ Dumbo. I’m here to tell you, I do like Dumbo despite its many notable flaws. 

Dumbo is the story of a little elephant born with giant ears who learns to fly with the help of a pair of ingenious siblings. This is a live action take on the 1941 Disney animated movie that, at 65 minutes in length, barely qualified to be called a ‘feature’ film. This version, crafted by daft auteur Tim Burton, is more than two hours long and feels about that long. Gone are the talking animals in favor of some well crafted human characters. Best of all, no problematic bird characters. 

Newcomers, Nico Parker and Finley Hobbins star in Dumbo as sister and brother, Milly and Joe Farrier. Milly and Joe recently lost their mother but are lucky to have their war hero father, Holt (Colin Farrell), back home from World War 1 and ready to resume life on the road with the Medici Brothers Circus, under the leadership of Max Medici (Danny Devito). Unfortunately, Holt lost an arm in the war and without his beloved wife, he’s lost his once vaunted horse show. 

With nothing else available with the circus, Max puts Holt in charge of the elephants and specifically, a new baby elephant that Max hopes will be the savior of the circus. Then, Max meets Dumbo and sees his giant, ungainly ears. Max doesn’t believe that Dumbo will be an asset to the circus and when Dumbo is mistreated by the circus roustabouts, Dumbo’s mom, Jumbo leaps to her son’s defense and a man is killed. 

Jumbo is deemed a dangerous animal and is sold to another circus. With his mother gone, Dumbo is left in the care of Milly and Joe who care for him and teach him a game. They begin blowing a feather back and forth only to find that when Dumbo sniffs the feather and sneezes, he flies up in the air with his giant ears as wings. Eventually, with prodding from Milly and Joe, Dumbo learns to fly and becomes the star of the circus. 

Naturally, the flying baby elephant gains nationwide notoriety and the attention of circus entrepreneur, V.A Vandervere (Michael Keaton). Vandervere makes Max his partner in a massive money venture that lands the entire Medici Circus in the big city where Dumbo will star alongside Collete (Eva Green), an acrobat in a brand new, outlandish show. Vandervere means to exploit Dumbo for all he’s worth, even if that means making sure Dumbo never sees his mom again. 

There are no spoilers in that description as there are more characters and more action to what I have described in this review in Dumbo. Tim Burton does well to craft a large, entertaining and colorful canvas. Despite that, this is not typical of Tim Burton’s style. There is an impersonal, mercenary quality to Dumbo that is unusual for Burton’s work. Burton directs like a director for hire rather than a director with a dedicated vision for telling this story. 

Dumbo has a perfunctory quality that makes the film far more average and standard than truly great entertainment. There is nothing really, terribly wrong with Dumbo, but it is not transcendent or memorable in the way Kenneth Branagh’s Cinderella was or even as elaborate and fantastical as the live action Beauty and the Beast. The scale feels smaller and the story lacks the kind of stakes that those films established. 

The biggest issues with Dumbo are more taste issues. For instance, I didn’t care for the way that Tim Burton directed Michael Keaton to be Johnny Depp-lite. Keaton’s Vandervere has all of the quirk and cadence of Johnny Depp at his most affected. The same could be said of Eva Green who is directed by Burton to play Colette exactly as Burton’s wife Helena Bonham Carter would have played her, with the same lilting affectations. 

This, aside from a few scenes reminiscent of the lovely watercolors of Alice in Wonderland, though far better than those dreadful movies, are the only Tim Burton signatures in Dumbo. As I mentioned earlier, he doesn’t appear invested in this story or this production in the way he has in his previous movies, specifically the movies he wrote and directed on his own. Burton appears comfortable having delivered screenwriter Ehren Kruger’s simplistic story to the screen with little innovation. 

Nevertheless, Dumbo is not a bad movie. Dumbo the character is quite engaging for a CGI creation and the flying scenes capture the wonder of the circus and a world where magic still seemed possible. The period setting has a dreamlike, magical quality and though the milquetoast heroes don’t standout all that much, they do enough to be rousing and charming enough to keep audiences engaged and in a pleasant mood. 

Dumbo is a good movie. It’s at the lower end of the modern Disney live action adaptations, above Alice in Wonderland and The Jungle Book but well below the transcendent masterpiece that was Cinderella and the lovely Beauty and the Beast. It will be interesting to rank Dumbo when Aladdin and The Lion King finally arrive in theaters this summer and next summer respectively. For now though, I do recommend taking the family to see Dumbo. 

Movie Review: Cars

Cars (2006) 

Directed by John Lasseter

Written Dan Fogelman, Joe Ranft, Jorgen Klubien

Starring Owen Wilson, Larry the Cable Guy, Michael Keaton, John Ratzenberger, Paul Newman, Bonnie Hunt, George Carlin

Release Date June 9th, 2006 

Published June 8th, 2006 

The vanguard of computer animation is Pixar. No company, not Dreamworks (Shrek, Madagascar), not Universal (Ice Age 1 & 2), not even corporate partner Disney can compete with the level of artistry and commerce that comes out of Steve Jobs extraordinary company. The list of Pixar triumphs reads like the hall of fame of the genre from the Toy Story films to Monsters Inc. to Finding Nemo to The Incredibles.

The latest effort from Pixar, the animated automobile adventure Cars, may not be the triumph that past Pixar films are but by the standards of the genre it far outpaces anything any other company has released.

Cars stars the voice of Owen Wilson as Lightning McQueen a rookie on the Piston Cup racing tour. Lightning is poised to become the first rookie racer ever to win the Piston Cup championship. Unfortunately, his arrogance selfishness has driven away his closest friends and teammates and nearly cost him the biggest race of his career.

Now forced into a single race challenge against the legendary 'King of racing, voiced by real life legend Richard Petty, and the nasty Chick Hicks (Michael Keaton) -the only racer more arrogant than lightning himself- Lightning must find his way to California and fend for himself in the race of his life.

Getting to the California speedway however turns out to be Lightning's biggest problem. When his 18 wheeler pal Mack (John Ratzenberger) falls asleep on the road, he accidentally lets Lightning fall out of the back of the truck and leaves him along a lonely stretch of road called Route 66. Lost in the middle of the night with no headlights, just stickers, Lightning winds up in the small town of Radiator Springs and in even deeper trouble.

Radiator Springs used to be a big deal back in the sixties, before the highway cut it out of the main artery of America. Now the lonely stretch of route 66 sits in decay awaiting the day when a tourist will remember it's there. Among the small town denizens waiting for customers for their road side attractions are Mater the tow truck (Larry The Cable Guy), Sarge (Michael Dooley) a military vehicle, Luigi (Tony Shalhoub) owner of the tire store and  Filmore (George Carlin) a hippy bus selling organic fuel.

When Lightning accidentally tears up mainstreet on his way to California the small town judge, Doc Hudson (Paul Newman), at the behest of the town's only lawyer, Sally (Bonnie Hunt), forces Lightning to repave main street before he can leave for his race.

If you think that the small towners will teach Lightning valuable lessons about humility, friendship, family and teamwork.. well.. your not wrong. Yes, the story is relatively predictable and old fashioned in the vein of very typical kids movie conventions and formulas. However, it is important to note that formulas are not inherently evil. It is how a typical plot formula is employed that makes or breaks a formula film.

Cars works because directors Joe Lasseter and Joe Ranft take this formula concept and improve upon it by delivering great characters and funny dialogue. The humor is warm and a little more gentle than the usual Pixar fare. It lacks that sly, intellectual edge of most Pixar films but it is not dull. Don't be mistaken, Pixar's usual pop culture riffs and self referential humor is in good supply it's just somehow a little quieter here than in the past.

What has not changed is the quality of Pixar's extraordinary animation. The pioneers in this field, Pixar continues breaking down the barriers of what can be done with computer animation. The films opening scene is a mindblowing series of race scenes that look beyond real until you get closeup and see the anthropomorphized race cars with soft human features, bumpers for mouths, eyes in the windshield et al.

The Cars of the title are so well animated that they take on truly human personas. You obviously never forget they are automobiles but at a certain point you stop pondering the mechanics of humanistic vehicles and just laugh along with the compelling characters.

Look at the details of the Hudson Hornet voiced by Paul Newman. Watch closely for the ways this stately vehicle evokes the real life Paul Newman in the animated eyes and lips. What an awesome piece of work this is.

It pains me to admit this but it's the truth..... Larry The Cable steals nearly the whole picture. The terribly unfunny redneck comic who has already delivered arguably the years worst film, Larry The Cable Guy Health Inspector, somehow morphs into a lovable, cuddly, teddy bear of a character in Cars. His voice slightly elevated and the rough edges of his persona worn down to a fine rust colored sheen, Larry The Cable Guy delivers the films most entertaining performance.

All of the voice actors are strong but it is Larry as the rust bucket tow truck Mater -get it tow-mater- who truly steals the film. Mater's sweet clueless demeanor and undying optimism are so winning that you nearly forget Larry's vile real life persona. Credit writer-director John Lasseter who knew just how to draw the right performance out of the non-actor while letting him be just enough of himself to be comfortable. You didn't think they would let the movie end without Larry's catchphrases did you.

Be sure to stick around during the credits for what may be Pixar's finest self referential moment. John Ratzneberger, the only actor to play a role in every Pixar feature, as Mack Truck visits the radiator springs drive in for a take on how Pixar would exist in the Cars universe. Very funny stuff.

Cars is not the creative home run that Finding Nemo and The Incredibles were but it is certainly lives up to the standards of the Pixar brand. And, of course, when compared to genre competitors it's absolutely no contest, Cars leaves'em in the dust.

Movie Review Post Grad

Post-Grad (2009) 

Directed by Vicky Jenson

Written by Kelly Fremon

Starring Alexis Bledel, Zach Gilford, Rodrigo Santoro, Jane Lynch, Carol Burnett, Michael Keaton

Release Date August 21st, 2009

Published August 20th, 2009

The late great Gene Siskel is quoted as having asked this question about a movie: "Is this movie as interesting as watching a documentary of this same group of actors having lunch?".  It was a pass/fail standard that Mr. Siskel established for good and bad movies and applied to the new comedy Post Grad, we have a definite failure.

With a cast that includes Carol Burnett, Michael Keaton, Jane Lynch and Alexis Bledel, I would have rather watched them read reviews of their other movies than watch them play out this brutal mess of a comedy.

Post Grad ostensibly stars Alexis Bledel as a disastrously put upon college grad. As Ryden Malby, Bledel is a bright. sweet and utterly clueless gal who fails to secure a job before she graduates college. Hanging her hopes on one interview at the only company she wants to work for, Ryden not surprisingly finds herself jobless when the company hires someone more qualified than she.

Her troubles send her back to mom and dad's house. Mom and dad are played by Michael Keaton and Jane Lynch as the wacky approximations of sitcom characters. Keaton is an endlessly tinkering oddball who, in classic sitcom fashion, loves a good get rich quick scheme. They have another child, much younger than Ryden, who is even weirder and more off-putting than his bizarre parents.

And then there is grandma played by Carol Burnett. Her main character trait is waiting to die. She has an oxygen tank and at one point calls her family, including her young grandson, to a funeral parlor where she is looking to purchase a high end casket. This idea plays out in such a broad and bizarre way that sympathetic gang members and a casket on the lawn are somehow the result.

Of course, a film this mindless and idiotic has romantic complications. Ryden has a best friend played by Friday Night Lights QB Zach Gilford. Of course they are meant to be, he's in love with her for reasons only he knows, she's written as a dummy who can't see he's in love with her. Meanwhile, Ryden has a dalliance with a doofy neighbor, ten years her senior, that only exists to delay the inevitable. The neighbor has a cat and.. well... the less said about the cat the better.

Really, the less said about this movie the better. A week after audiences so foolishly passed on the terrific teen comedy Bandslam we get Post Grad, a movie with more power behind it and thus more likely to be seen. What a shame. Bandslam will likely be out of theaters by the end of this weekend while Post Grad stinks up far too many screens.

Post Grad is an idiot movie, filled with idiot characters trapped in an idiot approximation of a plot. I am begging you, if you can find Bandslam, see that movie and forget you have ever heard of Post Grad. Bandslam doesn't have long before it leaves theaters all together.

Movie Review Live from Baghdad

Live from Baghdad (2002) 

Directed by Mick Jackson 

Written by John Patrick Shanley 

Starring Michael Keaton, Helena Bonham Carter, Lili Taylor, Bruce McGill, Kurt Fuller 

Release Date December 7th, 2002 

Published January 12th, 2003

Hollywood has a knack for timing. Right as the meltdown at Three Mile Island was happening, Jane Fonda and Michael Douglas were topping the box office in The China Syndrome. Just as controversy brewed about President Clinton's questionable bombings in Afghanistan, Hollywood released the hysterical political comedy Wag The Dog about a presidential administration that waged a fake war. Now, as we once again sit on the brink of war in Iraq, HBO releases Live From Baghdad, a smart, quickly-paced, entertaining movie that takes us behind the scenes of our first war in Iraq.

The film is based on the writing of CNN producer Robert Wiener, who, with correspondents Bernard Shaw, Peter Arnett, and John Holliman, broadcast live as bombs dropped on Iraq's capital. In the film, Wiener is played by Michael Keaton as a resourceful, quick witted journalist with a great ear for a story and the nerve to go and get it. Wiener, producer Ingrid Formanek (Helena Bonham Carter), and a skeleton crew--including the always-excellent Lily Taylor and Blair Witch victim Joshua Leonard--go to the heart of Iraq to get the story from inside the country.

The crew from CNN put their network on the map with its all-access war coverage. Their first big story is video of Iraqi dictator Saddam Hussein posing with "guests" (or hostages, depending upon your perspective.) CNN came under fire for airing the unedited footage, which some viewed as Iraqi propaganda. The next story for the crew is gaining an interview with an American hostage, a story which leads to the interviewee being taken into custody and Wiener's first major crisis of conscience. As we would uncover later, Hussein used American oil workers in Iraq as hostages held in strategic places where the US was likely to drop bombs.

The hostages were released before the bombs began dropping. The big coup was too land an interview with Saddam Hussein, however the things the producer has to promise to get the interview makes you wonder if it's worth it. CBS and Dan Rather land the first interview with Hussein despite Wiener's close relationship with the Iraqi Minister of Information, Naji Al Hadithi, here played by veteran character actor David Suchet. (You don't know the name but, trust me, you would know his face.)

Eventually, CNN would get an interview with Hussein, leading to a surreal photo op of Hussein posing with Wiener, his crew, and correspondent Shaw(Robert Wisdom). But it's not until the bombs begin to drop and CNN becomes America's eyes in Baghdad that the little network that could moves into the big time.

My favorite thing about Live From Baghdad are the performances, especially the group of character actors taking on the difficult roles of CNN reporters. Bruce Mcgill is Arnett and John Carrol Lynch portrays Holliman. (As mentioned above Wisdom is Shaw.) These roles are difficult because these reporters became quite memorable during and after the Gulf War and both Shaw and Arnett remain in front of the cameras to this day. John Holliman passed away in 1999 and Live From Baghdad is dedicated to him.

Mcgill really makes an impression, capturing the modern-day-cowboy attitude of Arnett, who has always loved being in the middle of the action, broadcasting live during the evacuation of Vietnam and other hotspots. Mcgill seems to make an impression in everything he's in. His Robert Hagan was the best part of The Legend Of Bagger Vance in 2000.

With all the media coverage about the Gulf War, one may think there isn't a story left to tell, Live From Baghdad has a story and it's a compelling, exciting story very well told by Keaton, Carter, and Director Mick Jackson. The film was based on the book written by Wiener who also wrote the teleplay, which gives the dialogue a fresh, realistic feel.

Though I found it hard to believe Wiener told Saddam Hussein he loved his tie as he was putting a microphone on the Iraqi dictator, the film teases the reality of it. In the end, it is just really nice to see Keaton back in a lead role, something we haven't seen since the god-awful Christmas movie Jack Frost in 1998. After a movie that bad it was probably a good idea to take some time off. Now he can be welcomed back and I, for one, hope to see more of him. Just no more Christmas movies.

Movie Review: The Other Guys

The Other Guys (2010) 

Directed by Adam McKay 

Written by Adam McKay, Chris Henchy

Starring Will Ferrell, Mark Wahlberg, Dwayne The Rock Johnson, Samuel L. Jackson, Michael Keaton 

Release Date August 6th, 2010

Published August 5th, 2010 

The “Saturday Night Live” influence on modern movie comedy cannot be underestimated. Yes, the movies based on SNL characters are, more often than not, miserable failures but that is not where the influence lies. The specter of Lorne Michaels lingers in the careers of those comic actors he plucked from relative obscurity and trained into comic athletes who chase the biggest laughs the way linebackers chase down running backs.

Will Ferrell and writer-director Adam McKay were both borne of the laugh competition environment of SNL and their most successful work reflects the instincts honed in a high pressure, big gag business. In three successful comic pairings, and “Step Brothers,” Ferrell and McKay have perfected their own SNL off-shoot, the sketch movie. It has the same characters acting in a series of context provided big gags that forcefully coalesce to something of a story-line that can be called a movie.

The latest Ferrell-McKay brand sketch movie is “The Other Guys” and while some will call the whole thing a send up of buddy cop movies; its success lies in the strength of each individual sketch that, because they include the same characters throughout, can seem like a real movie. In “The Other guys” the sketch by sketch constants are played by Ferrell as a forensic accountant turned vice detective and Mark Wahlberg as a would be big time detective busted down to desk work after he shot Derek Jeter of the Yankees right before Game 7 of the World Series. 

That's the premise each proceeds from, what happens from there is a lot of improv, some vain attempts at creating a story that exists from sketch to sketch and the energy with which both actors pursue a laugh. Credit Mark Wahlberg for being able to keep up with the veteran Ferrell on his turf. Many other actors would be reduced to tears by Ferrell's astonishing ability to riff on the same sketch idea. Wahlberg succeeds by not caring about what Ferrell does, he finds a beat of his own for each sketch and plays that to its comic height.

The Supporting actors in “The Other Guys,” including Dwayne ‘The Rock’ Johnson, Samuel L. Jackson, Eva Mendes and Michael Keaton are each given a single beat to play and each succeeds in finding their very particular kind of funny. Dwayne Johnson and Samuel L. Jackson play the action hero cops whose glorious death scene is a wonderfully dark send up of buddy cops in movies.

Mendes’ joke, not surprising, proceeds from how gorgeous she is and how not gorgeous Ferrell as her husband is. Finally, Michael Keaton plays the oddest beat as Ferrell and Wahlberg’s boss. His joke is that he refers to songs by girl group TLC at random and claims not to know he’s doing it, and what’s great is; the joke works. I wanted to see Keaton from scene to scene just to hear how he would reference another song.

That is the whole of “The Other Guys” each actor taking their cue, finding their particular rhythm and if they happen upon something resembling a story drop it in so we can move somewhat seamlessly to the next sketch. The stuff about corporate espionage and bank bailouts that are jammed in at the edges of “The Other Guys,” that might in another movie make up the story of the ‘movie,’ are mere afterthoughts in “The Other Guys.”

”The Other Guys” like “Anchorman,” “Talledega Nights” and “Step Brothers” before it are movies about comedy. They are feature length attempts to find the most punchlines in the shortest amounts of time. They feature actors and writers whose main goals are cracking each other up and in the process cracking up the audience. Story is an afterthought; something to be picked up in reshoots.

This sounds awful and can be quite bad when not done right. Ferrell and McKay however are pros and they find so many laughs in this sketch movie formula that you can forgive the lack of movie-ness in their movies. “The Other Guys” earns so many big laughs that I forgot about whether there was a story progressing behind it all.

As a movie it's a bit of a disaster but as sketches riffing on the classic Hollywood buddy cop genre, “The Other Guys” is hilarious. Don't ask for anything more than the laughs and you will be just fine.