Written as part of the weekly blogathon hosted by Wandering Through the Shelves. Join in the fun by picking three movies that fit the week's theme and writing a bit about them!
After the past few years of American politics, we all need a good political comedy, even though they may be just as painful to watch as dramas. But even when what's happening on screen is eerily, uncomfortably close to what's happening in real life, laughter is the best kind of catharsis. These are three of my favorites.
In The Loop (Armando Iannucci, 2009) This satire of the run-up to the Iraq war, a spin-off of the brilliant British TV series The Thick of It is one of the funniest films ever made. When Minister for International Development Simon Foster (terrifically bumbling Tom Hollander) keeps digging a deeper hole for himself every time he opens his mouth around the media, the Prime Minister's Director of Communications, Malcolm Tucker (the shoulda-been-Oscar-nominated Peter Capaldi) is sent in to fix things. Except that American Assistant Secretary of State for Diplomacy Karen Clark (hilarious Mimi Kennedy) got wind of Foster's statements and wants him to help her as she tries to undermine Assistant Secretary of State for Policy Linton Barwick's secret war committee. It's all a tangle, and a flawless ensemble of American and British actors pull it off, giving Iannucci fantastically profane script (Malcolm's preferred sign-off phrase is "Fuckity-bye!") plenty of punch.
The Great Dictator (Charlie Chaplin, 1940) For his first true sound film, Charlie Chaplin sure went there, didn't he? A Jewish barber just so happens to look exactly like the ruthless dictator Adenoid Hynkel (who may look rather... familiar to you), and when Hynkel orders a purge of the Jews, it may be up to the barber to save his people... and the rest of the people of the country of Tomania. One of the most important works of satire ever filmed, The Great Dictator is brilliant, and brilliantly funny.
Duck Soup (Leo McCarey, 1933) The Marx Brothers at their zany best, which is actually what makes this satire somewhat difficult to watch. They are talking about political intrigue and war, after all. But really, the hilariously on point songs and the justly famous mirror scene put Zeppo's final film with the group over the top.
Written as part of the weekly blogathon hosted by Wandering Through the Shelves. It's easy and fun to play along - just pick three movies that fit the week's theme and write a little something about them!
So.... you've all seen the trailer for Ocean's 8, right? It looks FLAMAZING, right?!?
Well, it's not one of my picks this week, but only because I figure lots of other people will pick it, and also because I would trust this one more if Soderbergh were directing.
ANYWAY, in addition to Ocean's 8 and Ready Player One (which I mentioned a few weeks back), these are probably my most anticipated movies opening next year.
Annihilation (Alex Garland) I mean, as if the next feature from the director of Ex Machina wasn't already gonna be near the top of my Must See list, this one is based on by what is by all accounts a pretty good book, has an outrageously amazing cast, and some really cool-looking special effects. And if all THAT wasn't enough, this trailer promises some shirtless Oscar Isaac. I am SO. THERE.
Death of Stalin (Armando Iannucci) Cruelly held back from American release until March 2018, this political satire is chock full of brilliant actors, but really, the star here is genius satirist Armando Iannucci. After In The Loop, The Thick of It, and Veep, I will follow him wherever he goes. Even if it may hit too close to home (hey, at this point, America will probably be a Russian outpost by 2018).
Widows (Steve McQueen) McQueen is kind of hit-or-miss with me, but.... THIS CAST. Academy Award Winner Viola Davis, Tony Award Winner Cynthia Erivo, Elizabeth Debicki, Michelle Rodriguez, Jacki Weaver, Carrie Coon, Liam Neeson, Colin Farrell, André Holland, Daniel Kaluuya, Robert Duvall, Jon Bernthal... what more could you ask for? How about a screenplay written by Gone Girl author Gillian Flynn, based off an 80s British TV series written by crime writer Lynda La Plante, about the widows of three criminals who conspire to recreate their husbands' last failed heist! I've been in the tank for this one practically since it was announced.
Written as part of the weekly blogathon hosted by Wandering Through the Shelves. Join the fun by picking three movies that fit the week's theme and writing a bit about them.
I'm at work writing this right now, which seems only appropriate given that this month's TV Edition is focused on the Workplace!
Herewith, my three picks for this evergreen setting for TV shows:
Boston Public (2000-2004) This was required viewing in my household, as my Dad was a high school foreign language teacher turned Assistant Principal and my Mom was a school social worker. The show from David E. Kelly (The Practice, Ally McBeal) was about the goings-on at a public school in Boston, MA, and in particular focused on the teachers. There were plenty of opportunities to address Important Issues (some of which were handled well, others that were NOT), and plenty of opportunities for soap operatics (some of which were just WAY too weird given the setting), but mostly, it was a chance to show that teachers have a fucking DIFFICULT job, and that school administrators often have it even worse. Just try having a personal life when your job lasts from 6 AM to 6 PM and you have to deal with teenagers who would rather be anywhere else all day. With a great ensemble cast including Chi McBride as the Principal, Fyvush Finkel, Jessalyn Gilsig, Nicky Katt, Loretta Devine, Sharon Leal, Michael Rapaport, and Jeri Ryan as the teachers.
Veep (2012-present) Julia Louis-Dreyfus gives the greatest comic performance ever seen on television as Vice President Selina Meyer. Surrounded by incompetents, idiots, assholes, and every combination thereof, Selina bravely trudges through each day dealing with whatever obstacles are thrown in her way with some of the most creative insults on TV. Those, of course, come from Armando Ianucci, genius creator of this and the similarly brilliant British TV show The Thick of It. You may think I'm being hyperbolic about Louis-Dreyfus's performance, but trust me. She is SUBLIME in this role, brilliantly showing every single one of Selina's many sides often simultaneously. It's a wonder of a performance, aided by one of the most talented ensembles on TV.
Fawlty Towers (1975-1979) Ladies and gentlemen, the Perfect Sitcom. John Cleese's towering performance as Basil Fawlty, the owner of the perpetually on-the-brink hotel that gives the series its title, is nothing short of utter perfection. The main joke of the series is that Fawlty runs a hotel but can't stand his guests, and will explode at them if they so much as breathe at the wrong time. The hotel staff - Spanish waiter Manuel, maid Polly, and Basil's wife Sybil - run the gamut from incompetent to unfailingly professional, both of which make Basil seethe with rage - always hilariously. If you haven't had the pleasure, sit down and binge the whole series - you can easily do it in a day, if you don't die from not being able to breathe because you're laughing so hard!
Written as part of the weekly blogathon hosted by Wandering Through the Shelves. You can play along by picking three movies that fit the week's theme and telling us a bit about them - it's so easy!
Oof, you guys.
As if things weren't bad enough in the world, this week we have to pick movies based on TV series. While not ALL of them are disasters (Guy Ritchie's recent take on The Man From U.N.C.L.E. was perfect late-summer fun), pretty much all of the ones I can think of are.
With one notable exception.
What follows are, in order, a truly terrible adaptation that might as well not even be one, a pretty good adaptation that might as well not even be one, and quite possibly the greatest film adaptation of a TV show ever made.
Lost In Space (Stephen Hopkins, 1998) As a child of 14, I remember thinking this was fun, but certainly inferior to such classics of cinema as Independence Day. Time has NOT been kind to it. It's a low point for pretty much everyone involved, but thankfully (nearly) all of their careers suffered barely a bit. The set-up is exactly the same as the 60s TV series, but updated with a lot more serious action and big VFX set-pieces. As they did in the 90s. But in its quest to be a blockbuster, the film abandons all of the charm of the TV series, becoming just another generic sci-fi film. Trivia alert: This (of all things) was the movie that ended Titanic's 15-week reign at the top of the box office.
Get Smart (Peter Segal, 2008) Look: the original Get Smart TV series is one of my favorite shows of all time, and if I'm being honest, this movie is almost as funny as that series. But it's ONLY because of Steve Carell as bumbling secret agent Maxwell Smart, perfectly riding the tone set by the legendary Don Adams from the TV series. The rest of the movie, though, is boilerplate spy stuff, with decent support from Anne Hathaway, Dwayne Johnson, Alan Arkin, and Terence Stamp. In other words: This didn't have to be an adaptation of Get Smart. It could have just been a spy spoof with that cast going by completely different character names. Nonetheless, I still enjoy this movie. It still makes me laugh, despite the fact that everything it did, Spy has since done better.
In The Loop (Armando Iannucci, 2009) An extrapolation from his successful UK comedy series The Thick of It, Armando Iannucci's In The Loop is the best political satire in AGES. It also has the filthiest language ("Why don't I pop a jaunty little bonnet on your purview and ram it up your ass with a lubricated horse cock?"), the best one-liners ("Okay, fuckity-bye," "Kiss my sweaty balls, you fat fuck!"), and the single greatest, most hard-won punchline in recent years. Inimitable performances from Anna Chlumsky, Mimi Kennedy, James Gandolfini, David Rasche, and of course Peter Capaldi as Malcolm Tucker, the foulest mouth in the United Kingdom, make the already great script even better. What makes it such a brilliant adaptation is that it takes existing characters from a TV series and puts them on a much larger playing field while staying true to the feel of the series without feeling like a bunch of TV episodes stitched together (Sex and the City), a Very Special Episode (Veronica Mars), or like any other generic movie (Charlie's Angels). All of this feels completely true to the series that spawned it while also feeling like its own thing, which is difficult to do. Plus, it's GREAT on every single level.
