Albert Brooks Defending My Life

Albert Brooks: Defending My Life (2023) 

Directed by Rob Reiner 

Written by Documentary

Starring Albert Brooks, Rob Reiner 

Release Date November 11th, 2023 

Published October 4th, 2023 

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

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

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

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

Find my full length review at Geeks.Media

Horror in the 90s Misery

Misery (1993) 

Directed by Rob Reiner 

Written by William Goldman 

Starring James Caan, Kathy Bates 

Release Date November 30th, 1990 

Box Office $61.3 million 

The first images seen on screen in Misery are utterly meaningless. A Lucky Strike cigarette, unlit, an empty champagne glass, and a bottle of Champagne. Visually, you can read into this a celebration about to occur. Indeed, the subject of Misery, writer Paul Sheldon, played by James Caan, is about to finishing typing the final words of his final novel featuring the character Misery Chastain. Paul has decided to end his highly successful franchise and the opening visuals of the movie are an indication of the celebratory nature of this decision. 

But what do these images foreshadow for the remainder of the story? Nothing really. Paul Sheldon will soon be involved in a car wreck. He will be rescued by someone who just happens to be 'his biggest fan.' Annie Wilkes (Kathy Bates), the fan, finds his novel and is none too pleased to find that her favorite book character is being killed off. Thus, she sets to set the author straight. She will hold him captive and torture him in order to get him to write a different, happier book, one more fitting her vision of Misery Chastain as her favorite book character. 

In the context of a novel, it's very clear that Stephen King is commenting upon the fickle nature of readers and their relationship to authors. King, whether he openly acknowledged it or not, was truly writing about having been pigeonholed and seemingly forced to write to the tastes of his readers rather than to what spoke to him as an author and artist. That subtext is underlined in the novel form. As a movie, it doesn't resonate quite as much. We can get a sense of the commentary occurring, but this is a movie, not a novel, moreover it's an adaptation of Stephen King and not King himself sub textually crying out at his audience to let him choose his subjects. 

Find my full length review at Horror.Media 

Classic Movie Review Sleepless in Seattle

Sleepless in Seattle (2023) 

Directed by Nora Ephron 

Written by Nora Ephron, David S. Ward, Jeff Arch 

Starring Tom Hanks, Meg Ryan, Rita Wilson, Victor Garber, Rosie O'Donnell, Bill Pullman 

Release Date June 25th, 1993

Published June 26th, 2023 

Losing my mother in 2013 was the hardest thing that I have ever endured. My mom was awesome. She worked three retail jobs, 80 to 90 hours per week, when I was a kid, just to make sure that myself and my sister had food and a good home. All that time, she remained unsinkable in her spirit and love. She was a human teddy bear, soft and comforting. Her worst quality was that when someone she loved was suffering, she would make that suffering her own, as if she could take our pain away by making it her pain. I consider myself incredibly lucky to have had a mom who was so loving and empathetic. 

My mom fostered my love of movies. I have a distinct memory from my childhood of my mother swooning over Cary Grant. I'd make fun of her for her reaction to Cary Grant movies and she would lean into it by talking about how handsome and charming he was in effusive terms. I can recall the first time I saw my mom cry was the day she was supposed to go see Cary Grant's one man show in Davenport, Iowa. That show never happened as Grant died the night before the show was to take place. My mom showed me that para-social relationships with celebrity weren't a bad thing, they were a human thing. 

The movie Sleepless in Seattle, which features prominent references to Cary Grant, became a favorite movie for my mom. She would watch it any chance she got. She didn't love Tom Hanks as she did Cary Grant, but her heart leapt seeing him fall for Meg Ryan at the last minute. She felt the same rush of emotion every time she watched the movie, even as she'd seen it a dozen times and was fully aware that the happy ending was coming. She always got teary when Meg Ryan took Tom Hanks' hand at the end of the movie. It showed me that being emotional about movies was not just okay, but something that just happens when you witness something beautiful. 

Sleepless in Seattle is a beautiful film. It's a celebration of magical romance and believing in something beyond yourself, the notion of fate. The characters of Sam Baldwin and Annie Reed were fated to be together. The universe conspires to unite them. Through the audacity and resolute stubbornness of Sam's son, Jonah, and the good luck that he has a best friend, played by Gaby Hoffman, whose parents are travel agents, Sam and Annie are brought dramatically together on the most romantic day of the year in one of the most romantic spots on the planet. 

Read my full length review at Geeks.Media 

Movie Review The Bucket List

The Bucket List (2007)

Directed by Rob Reiner 

Written by Justin Zackham

Starring Jack Nicholson, Morgan Freeman, Sean Hayes, Rob Morrow 

Release Date December 25th, 2007

Published December 24th, 2007

"Dying is easy, Comedy is hard" the alleged dying words of British actor Sir Donald Wolfitt are somewhat ironic when related to the new to DVD movie, The Bucket List. Directed by Rob Reiner, The Bucket List is a comedy about dying. It's also a comedy that proves just how hard comedy is as a pair of old pros, Jack Nicholson and Morgan Freeman, fail to get hardly any laughs at all in this desperate comedy.

Jack Nicholson is Edward Cole and Morgan Freeman is Carter Chambers. Aside from age, Edward and Carter have nothing in common except that they are both dying from cancer. After digging through the perfunctory getting to know you scenes, Edward, a millionaire who actually owns the hospital the two men are in, and Carter, a middle class mechanic, bond and decide not to spend their last days in bed.

Together they will blow off their families and friends in favor of a round the world jaunt that will help each accomplish all of the things on their 'bucket list', the list of things they wished to do before they 'kicked the bucket'. For Carter just leaving the country is one thing, Edward on the other hand wants to climb Kilimanjaro.

So what about their families? Edward is a loner who hasn't seen his only daughter in over a decade (no points for guessing that we will meet the daughter before the film ends). Carter's wife, played by Beverly Todd, is rightfully indignant until Carter plays the 'I'm dying, I'll do what I want' card.' It's a jerk thing to do to the person you supposedly love, leaving them right before you actually die to travel around the world with a virtual stranger, but nothing about these characters is all that likable anyway. 

The around the world journey is filled with charm even as it is slightly offensive in nature. Really, how many people really dying of cancer could just pick up and go around the world? Granted, movies are all about wish fulfillment, but there is something unseemly about the carefree attitude of The Bucket List in relation to cancer and the honest suffering of so many real people.

That aside, from a strictly filmmaking standpoint The Bucket List is a mixed bag. There are laughs, mostly from the two stars bantering off of one another, but The Bucket List is arguably the laziest movie Rob Reiner has ever made. The film moves from one expected scene to the next with little more than the charm of Nicholson and the sturdy presence of Freeman to carry us past the predictability.

Eventually, even these two awesome talents can't prevent us from getting bored with the progression from one expected scene to the next. There is an inevitability to the story, of course it's about two guys dying of cancer, but Reiner makes little attempt to mix up the journey with something we don't expect or that he doesn't tip his hand to several scenes ahead of time.

The dull predictability combined with the overall morbidity of the central story can't entirely dim the charm of these two stars but not even the talents of Freeman and Nicholson can overcome the rote anticipation of The Bucket List.

Movie Review: Dickie Roberts Former Child Star

Dickie Roberts Former Child Star (2003) 

Directed by Sam Weisman

Written by Fred Wolf 

Starring David Spade, Mary McCormack, Jon Lovitz, Alyssa Milano, Rob Reiner, Craig Bierko

Release Date September 5th, 2003 

Published September 4th, 2003 

Roger Ebert has a terrific line in his review of Dickie Roberts: Child Star. A line that sums up David Spade's career better than anything I have ever heard. Roger believes that David Spade could successfully play the lead in a story that hates his character. That perfectly describes the problems with both Dickie Roberts and Spade's previous film Joe Dirt. It's obvious from watching both films that neither character was built to be likable or sweet. Yet, because Hollywood believes all lead characters must be wholly likable, these films were forced to shoehorn in character traits that Spade cannot play. Things like being likable or charismatic or attractive. 

In the 1970's, Dickie Roberts was the star of one of TV's biggest hits "The Glimmer Gang". Then when he turned 9 years old the show was canceled and Dickie's mother left him. From the age of 9, Dickie's oddball behavior and pigeonholed rep as a child star prevented him from getting an acting gig and eventually he took a job parking cars at a Hollywood restaurant.

Dickie remains grounded somewhat by his group of former child star friends including Greg Brady, Danny Partridge, Leif Garrett and Screech. The group gets together once a week to bemoan their career lows and play poker. Also helping Dickie is his agent Sidney (Jon Lovitz). Are all Hollywood agents in movies named Sidney?

After an embarrassing loss on Celebrity Boxing and a break up with his bitch girlfriend Cyndi (Alyssa Milano), Dickie hears of a movie part that he would be perfect for. It's a role in a new film directed by Rob Reiner. Unfortunately for Dickie, Rob Reiner doesn't think Dickie could play the role because Dickie never had a real childhood. This launches us into the thrust of the film; Dickie hires a family to treat him to the childhood he never had.

Given our culture’s odd fascination with the travails of former child stars, Dickie Roberts starts with a good satirical premise. Unfortunately, Spade and his co-writer Fred Wolf abandon much of the satire in favor of the treacle family stuff. The family dynamic of Dickie relearning how to be a child to become a better adult is the driving force of the plot but it's not nearly as interesting or funny as the one scene of Dickie and his child star buddies playing poker. There are a number of funny lines sprinkled throughout the poker scene such as Barry Williams using Brady memorabilia in place of cash or Dustin "Screech" Diamond's mortification over the perks he never got.

Forcing Spade and his smarmy, snarky persona into the family scenes and a terrifically misguided romantic subplot with the mother played by Mary McCormick slams the film to a halt. Credit Spade for wringing a few laughs out of these scenes but not nearly enough. Only one scene in the family section of the film shows Spade and Wolf's best comic instincts. It's a scene where the family's young daughter tries out for her schools pep squad. A more popular girl tries out first and performs a stunningly sexual dance and the judges are rightly horrified. In most films that performance would be praised but here it gets the treatment that a nine-year-old acting like a stripper deserves, utter shock and disdain.

It's unquestionable that both Spade and Wolf have strong comic instincts. The problem is they are too often reigned in by conventional film writing that states that lead characters must be likable from beginning to end. Neither Dickie Roberts or Joe Dirt are likable characters, they are buffoons and the movies that surround them struggle to treat them that way but are undermined by the conventional need to make the characters sympathetic. Spade just doesn't do sympathetic.

Given the opportunity, Spade might make a very funny movie. In fact I am one of the few who liked his first solo starring effort Lost and Found where he seemed less shackled to the conventionally likable character. That film’s massive box office failure may be some of the reason why his other films have fit easier into that Hollywood likability box and have been comic failures whereas Lost and Found was merely a money failure.

Movie Review: Alex & Emma

Alex & Emma (2003) 

Directed by Rob Reiner 

Written by Jeremy Leven 

Starring Luke Wilson, Kate Hudson, Sophie Marceau, David Paymer, Rob Reiner

Release Date June 20th, 2003 

Published June 20th, 2003 

Recently I had a conversation with a friend about director Rob Reiner and it reminded me of the number of great films he has made. A Few Good Men, The American President, This Is Spinal Tap and When Harry Met Sally amongst others combine great filmmaking with a pop sensibility that is entertaining and accessible without pandering.  However there have been occasions during Reiner's career when he lost that sense. In films such as North and The Story Of Us, Reiner mistakes quirky and cute for funny. For his latest picture, Alex & Emma, Reiner has the ingredients of When Harry Met Sally but the execution of The Story of Us.

Alex (Luke Wilson) is a New York writer with gambling debts that have Cuban gangsters hanging him out of a window. He has been promising for months that when his new novel was completed he would have their money. Unfortunately, he has hasn't written even a page. The gangsters give him one month to get the money or they will kill him.

Of course the only way Alex can get the money he owes, now doubled with interest for the extra time, he has to finish his novel. He can't type as fast as he thinks, so Alex comes up with the brilliant idea to hire a stenographer to type as he talks and transcribe the novel when it's complete. Enter Emma (Kate Hudson), a quirky, cute stenographer who believes she is going to work in a law office. Her meeting with Alex in his dingy apartment is one of the few bright funny scenes in the film as she mistakes him for a psycho killer.

After Alex explains what he needs from her, she's still not convinced. It's not until she reads the last page of his first novel that she agrees to work for him. That is one her quirks, Emma always reads the last page of a book to decide if the ending is worth reading toward. It's a cute quirk, but whether it's cute because it's cute or cute because it's Kate Hudson is debatable. If only the audience was given the same option because after seeing the end of Alex & Emma, I likely would not have sat through the whole thing. But I digress.

From this point on, we switch back and forth between Alex's novel about an American tutor hired to teach a pair of French kids while falling for their single mom (Sophie Marceau) and Alex and Emma as they begin to fall for each other. Naturally, elements of the real dynamic begin to seep into the novel. Alex creates a new character, a servant who he envisions as Emma without her knowing it. The character is a nice comic invention who begins as a bubbly blonde Swede then morphs into a severe red headed German and then a fiery Latina before finally settling on an American who looks just like Emma. It's a funny device but it plays as a device, a very noticeable one.

Being a romantic comedy puts Alex & Emma at an automatic disadvantage. We in the audience already expect the leads to end up together so the writers and director must come up with logical roadblocks in order to keep the characters apart til the end. The obstacles in Alex and Emma however, just don't work, especially the obvious curveball that comes near the end. It's yet another of those easily solvable situations that must remain unsolved to extend the film to its conclusion. Hudson's character is asked to do things that are illogical and defy what we have come to know of the character.

Reiner's sure-handed direction is there and he is blessed with the lovely Kate Hudson who saves most of her scenes on the sheer force of her talent and charisma. Co-star Luke Wilson however never seems comfortable and seems miscast as the roguish self-assured Alex. His offhanded laid back style never jives with the confident self-assured character he is supposed to portray and thus he came off flat.

What is really lacking in Alex & Emma however, is laughs. Hudson provides the biggest laughs, especially in her numerous incarnations in the novel, I especially loved her German accent. Very sexy. But overall, when you combine the lack of solid laughs and illogical romantic comedy roadblocks, you get an amiable attempt at romance but an unsuccessful attempt at that.