HORRIBLE BOSSES: The Film Babble Blog Review

HORRIBLE BOSSES (Dir. Seth Gordon, 2011)

As the most recent in a spate of crude R-Rated comedies, HORRIBLE BOSSES is just funny enough to recommend. Although maybe just as a matinee.



Anybody who clicked on this review surely knows the plot, but I'll state it anyway: 3 guys want to murder their bosses and concoct a plan to do so with comical results. As the 3 guys we've got Saturday Night Live's Jason Sudekis, It's Always Sunny In Philadelphia's Charlie Day, and Arrested Development's (as well as the everyman in every other comedy movie made these days) Jason Bateman.



The bosses are Colin Firth with a combover as a chemical company coke-head who takes over Sudekis's workplace after his father (Donald Sutherland) dies, Kevin Spacey as a corporate asshole (shades of his likewise character in SWIMMING WITH SHARKS) who denies Bateman a promotion, and Jennifer Anniston playing against her girl-next-door type as a dentist who sexually harrases Day as her dental assistant ("Yours doesn't sound so bad" Sudekis says about Day's predicament).



Think STRANGERS ON A TRAIN + THROW MOMMA OFF THE TRAIN (both of which are referenced in this movie), with a sprinkling of 9 TO 5 thrown in for good measure. It takes a bit to really get going, but when it does the frantic scheming of the 3 leads makes for some big laughs especially from Day doing his patented screaming, not-the-sharpest-knife-in-the-drawer, It's Always Sunny stuff.



Sudekis with his sex-snarkiness seems so much like his character in HALL PASS that I kept expecting him to call his wife back home, and Bateman is playing the same nice-guy notes he has in many a movie, but these guys' recognizable and relatable personas all anchor the movie nicely.



Spacey, Firth, and Aniston have fine funny moments, but none is funnier than Jamie Foxx who steals every scene he's in as a "murder consultant" the guys seek out in a seedy bar when they are looking for somebody to do their dirty work.



Scripted by John Francis Daley (who played protagonist Sam on Freaks and Geeks), and Jonathan M. Goldstein, the film feels oddly restrained at times - like it never quite goes over the top.



However when it busts out a car chase/phone sex climax it's gets mighty close.



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Hey Kids - Funtime Oscar Picks 2011!

It's that time of year again - the Oscars are Sunday so I've got to make my annual predictions. If you've followed this blog in previous years you'll know I'm no expert - I usually do okay with the major categories, but come up short in my picks for the smaller awards.

Still here's what I got:

1. BEST PICTURE: THE SOCIAL NETWORK

Yes, many are saying THE KING'S SPEECH will win this, having won many previous awards, and boasting the most nominations, but I am so feeling the Facebook film to go home with the gold.

2. BEST DIRECTOR: David Fincher for THE SOCIAL NETWORK. Yep, likewise.

3. BEST ACTOR: Colin Firth for THE KING'S SPEECH. I'd prefer James Franco for 127 HOURS but Firth seems like a shoe-in for his stammer-perfect part as George VI.


4. BEST ACTRESS:

Natalie Portman for BLACK SWAN.

Seeing the young Portman again recently at a revival screening of THE PROFESSIONAL (1994) reminded me how far she's come - I expect this to confirm that.


5. BEST SUPPORTING ACTOR:

Christian Bale for THE FIGHTER.

None of the other actors nominated have that unhinged intensity that Bale brought to his role as a boxer gone to seed - or crack.

6. BEST SUPPORTING ACTRESS: Hailee Steinfeld for TRUE GRIT. Seems about time for such a young actress to win this - also seems time because Steinfeld was so good holding her own up to Jeff Bridges, Matt Damon, and Josh Brolin in this instant Western classic.

And the rest:

7. ART DIRECTION: ALICE IN WONDERLAND

8. CINEMATOGRAPHY: Roger Deakins for TRUE GRIT

9. COSTUME DESIGN: ALICE IN WONDERLAND

10. DOCUMENTARY FEATURE: EXIT THROUGH THE GIFT SHOP. Go Banksy!

11. DOCUMENTARY SHORT: KILLING IN THE NAME

12. FILM EDITING: THE SOCIAL NETWORK

13. MAKEUP: THE WOLFMAN (Rick Baker, Dave Elsey)

14. VISUAL EFFECTS: INCEPTION

15. ORIGINAL SCORE: Alexander Desplat for THE KING'S SPEECH

16. ORIGINAL SONG: "If I Rise" (A. R. Rahman, Dido) from 127 HOURS

17. ANIMATED SHORT: THE GRUFFALO

18. LIVE ACTION SHORT: THE CONFESSION

19. SOUND EDITING: INCEPTION

20. SOUND MIXING: INCEPTION

21. ORIGINAL SCREENPLAY: THE KING'S SPEECH

22. ADAPTED SCREENPLAY: THE SOCIAL NETWORK

23. ANIMATED FEATURE FILM: TOY STORY 3

24. BEST FOREIGN FILM: INCEDIES

We'll see how many I get wrong on Sunday night.

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THE KING'S SPEECH: The Film Babble Blog Review

THE KING'S SPEECH (Dir. Tom Hooper, 2010)

When Prince Albert, the Duke of York, steps up to the microphone to deliver the closing speech at the British Empire Exhibition at Wembley in 1925, we sense his extreme trepidation.

As portrayed by Colin Firth, the Duke is a dignified yet nervous man - nervous because he's suffered his whole life with a debilitating speech impediment.

His audience at Wembley cringes at his painful attempts to oratate in which the awkward gaps between words (or more accurately word fragments) seem to stop and start time.

The Duke's wife Elizabeth (Helena Bonham Carter) desperately wants to help her husband and after much looking for a qualified speech therapist finds Geoffrey Rush as the erudite and sharply eccentric Lionel Logue.

Rush, who doesn't make house calls, doesn't want to take on the patient until he finds out who it is.

Firth is also hesitant thinking that his stammer is beyond repair, but after a short session is convinced otherwise because of Rush's recording of the Duke speaking almost normally while music plays through his headphones.

When the Duke's brother Edward VIII (Guy Pearce) abdicated from the throne for marrying a twice divorced American woman (Eve Best), Prince Albert becomes King George VI and is set to give a crucial radio address as war is looming.

Although it has a highly capable supporting cast including Michael Gambon as King George V, and Timothy Spall as Winston Churchill, it's mainly Firth and Rush's show. As good as Bonham Carter is here she's considerably just decoration on the side.

Firth dives into Rush's treatments involving breathing exercises, untangling tongue twisters, and a hilarious spouting out of a string of profanity in a scene that alone gives the film its R-rating.

Even as it can be seen as largely a filmed play (much like FROST/NIXON) there's an elegant film surrounding the 2 excellent actors.

It's mostly set in Rush's study, but director Hooper allows for a nice amount of visual splendor. In a rare break from the indoors the therapist and his royal patient take a walk together in a sunbathed park that fades behind them. It's arresting imagery that draws us closer to the leads and greatly enhances our emotional investment.

An investment that really pays off.

Firth takes on a difficult role - that of a stuttering man of stature - and infuses it with a living breathing fully realized performance, but it's Rush who truly steals every scene he's in. Rush is an absolute delight as the confident commoner speech therapist who fancies himself an aspiring actor.

A winner in every way, THE KING'S SPEECH was made for awards season, but unlike with such Oscar bait as "Conviction" that's so not a bad thing.

It's witty, wise, and wonderful - well deserving every bit of recognition it will definitely get.

It feels cheesy to use such clichéd critical accolades as "uplifting", "inspirational", and God forbid "the feel good movie of the year", but dammit if the shoe fits...

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A Life Of Quiet Desperation Fashionably Rendered

A SINGLE MAN (Dir. Tom Ford, 2009)


College professor George Falconer (Colin Firth) lives his life in a neat orderly manner. Every item is his home is arranged appropriately and every piece of clothing he wears is impeccably pressed.

He is living what Thoreau called a life of "quiet desperation" (a quotation our lead is undoubtedly aware of and not just because he teaches English) ever since his lover Jim (Matthew Goode - seen in flashbacks) of 16 years died in an automobile accident 8 months previous.

It's Los Angeles 1962, in the days after the Cuban missile crisis, and the influence of beat culture is strong on Firth's students, but the fear of war and total annihilation is stronger. Firth's inner torment distances him from the communal worries of the day.

From the outset of the film we see that he has decided to get through the routine of one last day before he takes his own life. He buys bullets for his handgun and tries to figure the best way to kill himself without leaving too big a mess for his maid.


Firth's dignity and poise is intact as he flirts with a Spanish hustler (Jon Kortajaren) in a liquor store parking lot and as he converses with one of his students (Nicholas Hoult) who may be interested in more than class consultation.


However Firth does lose his well cultivated composure during a dinner visit with long-time friend and ex-lover Charly (Julianne Moore) who has had a thing for him for years. Moore ponders the relationship he had with Jim; "wasn't it really just a substitute for something else?"

Firth jumps up and exclaims: "There is no substitute for Jim anywhere!"

There is a washed out quality to the film - grey grainy tones make up most shots but color rushes in with red hues heightened when sensuality is implied. With such subtle touches abounding, it's a definitive "art film" that's an impressive debut for a Fashion Designer best known for magazine layouts.

Firth's performance is an intensely nuanced balance of grace and pain. It's some of the sharpest acting out there now and it will be shocking if he's not nominated. Maybe not an Oscar, but Ford's direction deserves notice too for it recalls the work of Julian Schnabel while showing its own promise in illustrative invention.

Although a bit slow paced, A SINGLE MAN has its indulgences in check and is a quietly absorbing work of refined beauty. It's a passionate portrait of grief that knows that there isn't a substitute for a lost lover any more than there is a substitute for life.

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BIG FISH Without The Fantasy

WHEN DID YOU LAST SEE YOUR FATHER? (Dir. Anand Tucker, 2007)

When I first saw the trailer for this film with the premise of Jim Broadbent as Colin Firth’s father I thought ‘that's genius casting!’ The best casting since Ewan McGregor played a younger version of Albert Finney in BIG FISH in my humble opinion. I didn’t realize though that the film itself shares a lot in common with that father/son fable - as it deals with a troubled son trying to sort out the truth about the past regarding his father’s exploits. Just subtract the carnivals, the exotic conjoined twins, the giant cat-fish, the witch, etc. and retain the possibility of infidelity and this is pretty much what you'd get. But that may be a bit unfair and too simple a conclusion for this sincere melodrama that moves to its own heartbeat even as it gets a bit maudlin and treacly in its second half.

Based on the book by Blake Morrison and set in Yorkshire 1989, WHEN DID YOU LAST SEE... has Firth fretting, albeit in a very sub-dued manner, about his relationship with his father (a graceful and charming Broadbent) as he is on his deathbed. Many flashbacks involving 2 young actors playing the young Firth (Bradley Johnson and Matthew Beard) show us that he has reason to believe that Broadbent had affairs and may have even fathered a daughter. Nearly every other character including his dotting but stern mother (Juliet Stevenson) tells him in so many words to drop it but Firth can't seem to stop dragging up past pain. With too many shots of moody reflections of the characters in mirrors and an overly sentimental score, this film is a good, not great, study of a family quietly scrambling for some sort of perspective closure.

Now, I’ve never decided on whether closure is a real tangible thing or if it’s just a psychological buzzword popularized on Oprah but I do know there’s ‘movie’ closure and I appreciate this films realistic untidy approach to it. Despite that there’s really little suspense as to whether Firth will come to accept his father for who he was when he’s gone, the performances, especially by the wry Broadbent, are spot-on and the overall tone has the right pitch as well. Still I could have done without the 2 masturbation scenes; not sure what character insight we’re supposed to gain about Firth from them except maybe that he has never fully grown up. WHEN DID YOU LAST SEE YOUR FATHER? is likable and un-imposing but it drags a bit. Not badly enough that I was hoping for Broadbent to turn into a big mythical cat-fish mind you, so consider this a good review.

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