Netflix And Chill: Jay Kelly (2025)

George Clooney can convince me of many things. He can be a handsome doctor. He can make me think that I need a swish coffee machine in my kitchen. He can even be Bruce Wayne/Batman, occasionally. Hey, the film isn't great, but he is far from the worst part of it. Unfortunately, one of the things that he cannot convince me of is a message that basically says "oh, look at George Clooney, isn't it sad that he has had to make some sacrifices on his way to being a beloved global superstar."

Jay Kelly is the story of Jay Kelly, an actor (Clooney) about to have a bit of a crisis. His crisis doesn't necessarily affect him, however, as much as it affects people who once knew him in the past (mainly Timothy, played by Billy Crudup), his management team/handlers (Adam Sandler and Laura Dern), and his two daughters (played by Grace Edwards and Riley Keough).

Co-written by director Noah Baumbach and Emily Mortimer, who also appears onscreen in a very small supporting role (aka blink and you can miss her), Jay Kelly may not be about George Clooney, specifically, but it is hampered massively by the fact that it has Clooney in the main role, which makes it feel as if it IS about his life, and that doesn't feel, from the outside, like a life full of struggles. Oh, Clooney put the work in for many years before he finally got his breakthrough, but those tough years have always seemed to have worked in his favour, keeping him well-adjusted and very appreciative of his success. Which makes this film so jarring. As much as I really like Clooney, he feels horribly miscast here. Maybe he has had the kind of introspective moments that are shown here, maybe not, but watching him calculate his gains and losses onscreen here is akin to watching some documentary about a monarch who is unhappy about having staff and adoring fans ready to cater to their every whim.

The rest of the cast work a lot better though, and both Sandler and Dern are superb, although the latter is sadly underused. Crudup has one fantastic scene that helps to start dismantling the tower of cards, Edwards and Keough are both very good, and there's a supporting turn from Patrick Wilson that reminds you of just how easygoing and enjoyable Wilson can be onscreen when not playing a ghoulish con-man pretending to be a record-breaking exorcist. Oh, there's also a surprisingly decent role for Stacy Keach, playing an unimpressed father.

There are good moments here, some of them are really good moments, but they are too few and far between in a film that clocks in with a 132-minute runtime. And you'll struggle to remember the highlights as the end credits roll and all you can think of is the air of smug self-satisfaction emanating from the thing. Maybe some would say that's exactly why Clooney should work well in the lead role, but the tone of the film fails to play to his strengths.

I was looking forward to this, mainly for Clooney, but also for the fact that Sandler has been on a great run with his dramatic roles recently. It turns out that Sandler is the best thing about this, and he effortlessly steals a number of scenes away from everyone around him. Sadly, I cannot recommend this to anyone but the biggest fans of those involved. And even they (considering I count myself among them) are unlikely to be impressed.

4/10

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Netflix And Chill: Ticket To Paradise (2022)

George Clooney and Julia Roberts play two people who were once married, but are now happily divorced, in this easygoing rom-com that coasts along on the star power of the leads. They have character names, but it’s easier to just call them Clooney and Roberts, considering that should be the draw for most people.

The pair can barely stand to be in the same room together, but they have to put aside their differences when their daughter (Kaitlyn Dever) has a holiday romance with a young man (Maxime Bouttier) that could lead to her completely changing her life plans for the chance of blissful happiness on what seems very much like a paradise island. There’s a wedding looming, a wedding that blindsides her parents. While Roberts and Clooney DO want their daughter to be happy, they think they know better. The only way to keep her from ruining her entire life is to ensure that the wedding is called off.

While director Ol Parker has played around in this sandbox before, most successfully with his last film before this one (a certain musical sequel making use of some huge ABBA hits), and he’s a very safe pair of hands. Having co-written the screenplay with first-timer Daniel Pipski, he keeps the focus on either the interplay between our charismatic leads or the natural beauty of the island setting, and that is enough to help this play out as a perfectly enjoyable rom-com.

I would feel a bit too sycophantic if I spent much more time praising Roberts and Clooney, so take that as a given, but there’s also fun to be had with a number of the supporting cast members. Dever has to be believably exasperated by parents she also still loves very much, and she plays that well, while Bouttier manages to portray his loving husband-to-be without seeming too bland or naïve. Billie Lourd has fun as the bestie who is making the most of the sun, sand, and selection of cocktails on the island, and Lucas Bravo steals a few scenes whenever he appears as the man currently in a relationship with Roberts.

There are few surprises (okay, there are none), but this has some decent laughs throughout, enough sweetness developing within the central characters to make you eventually root for them to sort things out, and even a drinking game montage that allows older viewers to enjoy some ‘90s tunes on the soundtrack. There are also some bloopers over some of the end credits that help to guarantee you are still smiling once it’s all over (an easy enough “cheat code” for movies, but these clips are more fun than most).

It’s insubstantial and forgettable, and would not be worth your time at all if it wasn’t for the casting, but it’s good fun for the duration of the runtime. I doubt anyone will rush to rewatch it, aside from those who are seriously dedicated fans of either lead, but it’s cute and amusing enough for those wanting to add a new rom-com to their viewing schedule.

6/10

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Prime Time: Money Monster (2016)

While I like all three main cast members here (George Clooney, Julia Roberts, and Jack O’Connell), I had spent a long time delaying a viewing of Money Monster. I suspected I would enjoy it, but was never in just the right mood for it. And if there is one typical viewer who doesn’t need reminded of the evils of what many perceive as an unfair stock market system, it’s me.

Clooney plays Lee Gates, the smarmy and self-centres host of a TV show that offers advice to people looking play the stock market game. His producer, Patty Fenn (Roberts), knows exactly how to work with her onscreen star, allowing him to go off on occasional tangents before pulling him back to whatever should be the focus of the show. Both of these people are about to be put in a terrifying situation by Kyle Budwell (O’Connell), a young man who lost his stash of savings in an anomalous stock crash that he suspects was engineered without any consideration for those unable to afford such a dip in their fortunes. Kyle has a gun, a jacket packed with explosives, and a very strong desire to keep the cameras on him and have everything playing out live as he gets to the truth of what may be a financial scandal.

Written by Alan Difiore, Jim Kouf, and Jamie Linden, who have all worked on a wide variety of projects that I have enjoyed to varying degrees, this is a smart and tense thriller that provides a fantasy scenario in which an enraged failed “everyman” has a go at smashing at least one small part of the giant machinery of capitalism responsible for widening the chasm of social inequality. It’s easy to stay alongside Kyle, thanks to the script and O’Connell’s performance, and viewers will want an ending that provides some kind of the justice he is seeking.

As well as the famous faces front and centre, there is also an extra famous face behind the camera, this being another feature directed by the talented Jodie Foster. Not only does she do well with the material, probably well aware that the script is full of tasty little moments for the actors to sink their teeth into, but she shows admirable restraint by not casting herself in the role given to Roberts, a role that I could easily imagine her excelling in.

Not that Roberts is a lesser choice. She exudes the will and savvy of someone more than capable of keeping a cool head in such a crazy situation. Clooney uses his showbiz charm to deliver his smarmy host, but also enjoys allowing that facade to start crumbling as things look to get worse and worse for him. Then you have O’Connell, playing his desperate man almost like a confused child who had just learned of a terrible secret. He’s a sad figure, but also senses something that others should have already cottoned on to, and one scenes at about the mid-point, where police have his partner communicating with him, underlines just how much he has lost. Elsewhere, Dominic West is as watchable as ever, even as a slick businessman trying to stay on his plane long enough for everything to blow over, and Catriona Baife is very good as his strained assistant, trying to maintain the company line until she also starts questioning just how the financial “glitch” occurred. 

Probably not a film anyone would consider essential viewing, and there are a couple of different elements mixed in that distract slightly from that great central idea, but Money Monster is old-fashioned entertainment with a bit of modern pizzazz added to it. You have great actors working with a solid script, and a commentary at the heart of it that has sadly featured in a number of other movies in recent years without any major change in sight. It may prove a bit frustrating, but it is also a perfectly enjoyable way to spend just under 100 minutes.

7/10

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Mubi Monday: Intolerable Cruelty (2003)

My reasons for picking specific titles to review are myriad and often a lot less organised, or sensible, than they should be. Take the choice for today, for example, a rom-com from the Coen brothers that many would probably often forget is even part of their filmography. Many might even prefer it not to be in there. Which is a great shame, as Intolerable Cruelty holds up as yet another showcase for the talented siblings to pick a genre they enjoy and have fun showing their mastery of it.

George Clooney is perfectly cast as the smooth-talking and perfectly-groomed divorce lawyer, Miles Massey. Often defying the odds, and relishing the challenge, Miles has an amazing record for helping his clients get everything they want, even if they are not the wronged party. But he's been finding himself thinking some quite unique, potentially dangerous, thoughts recently, made more troubling as he gets involved in a case that leads to him withholding a huge payout from the beautiful Marylin (Catherine Zeta-Jones). What follows involves love, pain, and the infamous "Massey pre-nup".

Very much in line with other Coen brothers movies, in terms of the snappy dialogue and assortment of memorable characters, Intolerable Cruelty is knockabout fare of the highest order, focused on two gorgeous leads who are surrounded by a fine collection of people taking on fun supporting roles. Geoffrey Rush is the cheated-upon spouse who finds his wife with another man, leading us to be introduced to the smooth ways of Massey. Edward Herrmann is the first husband of Zeta-Jones, bringing the two leads together for the central conflict, while Billy Bob Thornton is the second. Cedric The Entertainer is an investigator who often shouts out a catchphrase he has coined as he gathers video evidence of extra-marital affairs. And Paul Adelstein is Wrigley, a man in awe of Massey until he sees how major changes start to affect his life, while Richard Jenkins is the poor attorney often at the other side of battles against the winning teams.

It may not always look as good as many of their other movies, the production design is relatively clean and simple throughout, but shot choice and style are, as ever with the Coens, in line with the type of film they are most trying to emulate. Rom-coms are not known for their lavish sets or dizzying cinematography, therefore we don't get those things here.

The script is even funnier than I remembered, either in terms of the actual dialogue or the delivery (Clooney is so good in this kind of comedic role that I wish we'd seen him in more of them, classic deliveries matching his old-school movie star looks), and the whole thing sets all of the plot points up briskly enough and positively dashes through the 100-minute runtime.

I know that some automatically dislike the stars here, but they're both doing some of their best (or, at the very least, most fun) work, and casting them in these roles was a typically-great decision from the Coen brothers. It's hard to pick any one favourite from the supporting players either, with so many good moments to choose from. Everyone is hilariously over the top, and Rush sets the tone perfectly in the opening scenes, but I think I'll take this opportunity to highlight Jenkins, who does such wonderful work in a role that isn't as immediately full of comedic potential as the others, yet his performance just sprinkles more treats throughout the runtime.

The soundtrack is wonderful, the character developments, and small twists and turns, are constantly amusing, and this remains a fun time. I'm not going to argue that it's a masterpiece, or deserves to be in the top tier of a filmography from two men who have given audiences so many modern classics, but I am going to encourage people to either check it out or revisit it. You may realise that it's a lot more fun than given credit for.

7/10

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Filmstruck Friday: Three Kings (1999)

Three Kings remains one of the best films from director David O. Russell, helped by a great cast and a fun script that generally updates Kelly's Heroes and adds more relevant politics and modern views on warfare. It's a film infused, at least initially, with cinematic cool that manages to walk a tightrope by sprinkling cool moments here and there without ever making the environment or war itself seem cool in the slightest.

George Clooney is Archie Gates, a soldier in Iraq as the Gulf War starts to wind down. He ends up leading three men (MarkWahlberg, Ice Cube, and Spike Jonze) on a hunt for gold stolen from Kuwait. They want to steal the gold for themselves, allowing them a very comfortable life when they get back home to America. But as they set out to execute their plan they encounter a number of people who need their help. Trying to ignore them becomes more difficult after they witness what can only be desribed as a ruthless execution.

Based on a story written by John Ridley, Three Kings is almost a perfect look at machismo and how easy it can be to undercut that machismo. The biggest and strongest soldier can be caught and tortured, can be turned into a weak invalid by one bullet, and can be killed at any moment, by a landmine or a gun-wielding enemy, or even an ally making a mistake. The dialogue succinctly captures the essence of the central characters and how the war has sharpened their senses in some ways and yet also dulled them in others. There's no room for complacency, but that's not to say that complacency is something they are never guilty of.

Clooney gives one of his many winning performances, a perfect fit as the guy who comes in and takes over leadership of the three men (who only know where the gold is because they happened to find a map stuck in the posterior of a prisoner). Ice Cube is also very good, and Wahlberg and Jonze both do well, the former playing someone who can posture with the best of them and the latter playing someone wishing he could posture like his buddy. The supporting cast also features Cliff Curtis, Nora Dunn, Jamie Kennedy, Said Taghmaoui, Mykelti Williamson, Holt McCallany, and Judy Greer, and not one of them puts a foot wrong. Not even Jamie Kennedy.

Not quite all things to all people, Three Kings at least gives it a damn good try. It has enough standard soldiering to please those looking for a war movie, it has a nice line in wry humour to please those after a particular style of comedic entertainment, and it has enought thought-provoking moments regarding the politics of war, in general, and the situation in Iraq to please those who want a bit of depth to their slick entertainment.

20 years old next year, this holds up as a fantastic modern war movie, one you could nicely line up alongside Buffalo Soldiers and Jarhead for a smart and amusing triple-bill that reflects on the madness of modern life in wartime without taking anything away from the individuals affected by it.

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Michael Clayton (2007)

George Clooney plays Michael Clayton, a man who works at a law firm as a fixer. He hasn't earned that role because he's particularly amoral. He's just really good at sorting things out, trading favours around, and getting the right people into the right places. But he finds his latest job more of a challenge, pitting him against a lawyer he has admired, and even been friends with, for many years. Unfortunately, that lawyer seemed to have a breakdown during a hearing, stripping naked and declaring his love for a young girl in the room. And that isn't something easy to fix when the hearing involves one of the biggest clients at the firm Clayton works for. A huge chemical company shelling out for lots and lots of billable hours as they deal with a major class action lawsuit.

Written by the talented Tony Gilroy, here making his directorial debut (and it remains his best work in that role), Michael Clayton is a slick and nicely put together legal thriller. Whether deliberate or not, the inclusion of Sydney Pollack serves as a connection to The Firm, and subsequently a time when we had a number of equally slick films in this vein from the pen of John Grisham. The main difference is that this time around we have a main character who is flawed and not necessarily looking to make the world a better place. He just wants to do his job, wants to be paid what he believes he is worth, and wants to get enough money together to pay off the sady types that he owes a large amount of money to.

Clooney is great in the lead role, his usual cool demeanour fitting well in the suit of someone who has a few too many plates spinning than he can comfortably handle. He can still make his moves without breaking a sweat, but you can see the strain taking a toll here. He's matched by Tom Wilkinson, playing the lawyer who has the breakdown that kickstarts a dangerous chain of events, and Tilda Swinton, basically portraying Clayton's female counterpart with the chemical company. The rest of the cast is made up of solid, if mostly unfamiliar, performers. Pollack is the only other big name in among the main players (although Denis O'Hare is good to see in a small role), which doesn't matter with the focus of the film holding so tightly to the main character.

Despite a few of the main plot points relying on some major coincidences, Michael Clayton is crafted to ensure that viewers can enjoy the ride from start to finish without anything feeling far too implausible. Gilroy uses the trials and tribulations of his main character to explore a theme of loyalty, first and foremost (Clayton is loyal to his firm, he is loyal to his friend, he is loyal to the brother who ended up leaving him with his debt), and to show that people who specialise in working in areas of, shall we say, moral ambiguity cannot keep their own hands clean forever. And when that happens, big choices have to be made. Watching Clooney so effectively act out Clayton's journey to that point, and come to his final decision, makes this such an enjoyable film.

8/10

Get the Blu-ray here.
Americans can buy it here.

Noir November: Out Of Sight (1998)

George Clooney has a lot to thank Steven Soderbergh for. The two have had a successful working relationship for some years now, but Out Of Sight seems to be where it all began. Adapting the novel by Elmore Leonard, it really feels like this film had the benefit of great timing. Any closer to the releases of Pulp Fiction and Get Shorty and this could have been lost among the tidal wave of imitators that came along. Any later and it might have all felt irrelevant. At the very least, the full cast might not have been available, and this is a movie that gets some major brownie points thanks to the casting.

Clooney is Jack Foley, a bank robber who can do more with his brains and charm than many others could do with guns and violence. But it's not so easy being a career criminal when you're currently behind bars. When he finds out about a potential big score, one that won't wait around forever, he engineers a prison break. The bad news is that he breaks out of the prison just as U.S. Marshall Karen Sisco (Jennifer Lopez) pulls up in her car. Jack then has to take her hostage, the two of them stuck in the boot of a car while his main accomplice (Buddy, played by Ving Rhames) drives them to a safe spot. The good news is that the two seem to immediately feel something between them. But will it be enough to make Sisco forget her duty as a Marshall?

Scott Frank takes the source material and transfers it all to the screen in a way that nicely balances out the humour and violence, while never once losing a single drop of cool. Soderbergh helps, obviously, with his filming style, shot choices (kudos to editor Anne V. Coates), and the brilliant decision to let David Holmes create an appropriate score, mixed with some classic choices (Dean Martin, The Isley Brothers, and Herbie Hancock all make an appearance - well, not an "appearance" but you know what I mean).

Clooney and Lopez are both fantastic, generating the kind of heat between them that seems to emanate off the screen in waves. Okay, so the former can make that happen with many a co-star, but let's not take anything away from a real highlight in the career of Lopez. She's sexy, strong (apart from her bad choice in men), and feels very much like an equal to her male co-star. Rhames is a constant delight as Buddy, a criminal who always has to confess his misdeeds to his sister, Don Cheadle is suitably menacing as the kind of criminal Foley and Buddy would never want to work with, and Steve Zahn is very funny as a hapless crook who thinks he can run with the big boys. There's also some great support from Dennis Farina (playing Sisco's father), Albert Brooks (the mark), Michael Keaton (revisiting the character he played in Jackie Brown), Luis Guzman, Isaiah Washington, Catherine Keener, Nancy Allen, and Samuel L. Jackson.

Funky, funny, and pretty damn sexy too, Out Of Sight occupies a space nicely in between the two other Leonard adaptations mentioned here. It's neither as funny as Get Short, nor as rich in characterisation as Tarantino's film, but it mixes those two main ingredients together to create an end result that easily ranks alongside those movies.

9/10

http://www.amazon.com/Out-Sight-Collectors-George-Clooney/dp/0783229402/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1416847022&sr=1-2&keywords=out+of+sight

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Ani-MAY-tion Month: South Park: Bigger, Longer And Uncut (1999)

South Park. Everyone knows about it by now, don't they? The lo-fi animated show created by Trey Parker and Matt Stone that became a huge success. Anyone who has seen 6 Days To Air: The Making Of South Park already knows the energy and creativity it takes to make each episode of the show, but adapting it into a decent feature movie should bring all new challenges and problems. Or, at least, that would be the general consensus. But nobody ever told Parker and Stone the rules, which is why they consistently manage to break them, and do so with no small amount of success.

The plot of the South Park movie sees Stan, Kyle, Cartman and Kenny all sneaking their way in to see the new Terrance and Phillip movie, Asses Of Fire. The movie is a non-stop parade of flatulence and profanity, with one or two great musical numbers in the mix. The boys are, understandably, very impressed. They're also very impressionable, and it's not long until all of the kids are using language that upsets all of the adults. Keen to find a way to solve the problem, the parents, led by the militant Sheila Broflovski, settle on a course of action that should please everyone with a sense of decency. They blame Canada. Unfortunately, that could lead to World War III, and an opportunity for Satan to come up from Hell and rule over an apocalyptic landscape. Maybe the naughty language wasn't so bad after all.

The great thing about Parker and Stone is the way they can take pot shots at everyone and everything while still keeping their eye very much on a main target. On this occasion, the target is reactionary measures taken by people desperate for something to be angry with.
As the adults all sing at the end of the "Blame Canada" song: "We must blame them and cause a fuss, before somebody thinks of blaming us!"

There are some fun celebrity vocal cameos, but otherwise this is business as usual for the two South Park guys as they provide their usual crowd of voices. I don't know much that worked against them during the big musical numbers, but it doesn't seem to have done any harm. In fact, the musical numbers are SO good that this movie allowed Parker and Stone to pop along to the Oscars, in a memorable night that provided some great images easily available with a little searching (seriously, look them up).

Profane, hilarious, full of great musical numbers (including the main hit from Terrance and Phillip), smart, and brilliantly developing South Park for the big screen without ever losing its essence. I highly recommend South Park: Bigger, Longer And Uncut. But not for the kids.

9/10

http://www.amazon.com/South-Park-Bigger-Longer-Blu-ray/dp/B00AEBB8TM/ref=sr_1_2?ie=UTF8&qid=1398209785&sr=8-2&keywords=south+park+bigger+longer+and+uncut

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As much as I love the rest of the world, I can't keep up with all of the different links in different territories, but trust me when I say that it should be there on your local Amazon.