Netflix And Chill: Don't Look Up (2021)

People denying facts that are literally about to hit them in a major death-strike, a three word slogan rallying round those who decide to politicise a major problem for the entire human race, and media that is complicit in helping to keep the masses placid and uninformed. Don't Look Up is a comedy that foregoes subtlety in an attempt to present something that is horribly close to the truth of our present times.

Written and directed by Adam McKay (from a story co-created by David Sirota), who has made a number of superb comedies in the past decade that use humour to probe major societal problems with surgeon-like precision, this may be an obvious allegory for the many people trying to deny climate change, but it's also yet another McKay movie clearly showing how so many ills of our world are rooted in the same place as every evil, money. A news team (Cate Blanchett and Tyler Perry) want to keep their audience happy for the ratings. A president (Meryl Streep) and her son (Jonah Hill) want to stay high in the polls, and nothing upsets people more than a potentially Extinction Level Event. There's also Peter Isherwell (Mark Rylance), a Steve Jobs/Mark Zuckerberg/Elon Musk amalgamation, a very rich man with just enough scientific knowledge, and smart people on his payroll, to think he has all the answers.

The two lead characters, however, are scientists. Kate Diblasky (Jennifer Lawrence) spotted comet, which is then named after her, and Dr. Randall Mindy (Leonardo DiCaprio) helped to work out the trajectory of it. It is these two people who spend the movie trying to warn everyone of their impending doom, helped by Dr. Teddy Oglethorpe (Rob Morgan), but hindered by so many other people who have their own take on things, in defiance of the truth.

As well as those already mentioned, this packed cast includes roles of varying sizes for Melanie Lynskey, Timothée Chalamet, Ron Perlman, Ariana Grande, Himesh Patel, Michael Chiklis, Robert Joy, and Paul Guilfoyle. Everyone is doing great work here, but the leads are surprisingly perfect in their roles. DiCaprio is allowed to be a very nervy individual, prone to anxiety attacks and a lack of confidence whenever he is in the spotlight. Lawrence's character is less nervy, but also less "media-trained", which works against her trying to warn people of impending doom. She doesn't care about who people are, she doesn't care about who gets upset, and her spiky demeanour is very funny, especially when she is arguing against a typically couldn't-give-less-of-a-shit Hill (who is both the son of the POTUS, and her Chief Of Staff). Morgan is the old hand at playing the game, as frustrated as the other scientists, but able to think up more strategic options to get the message out there. Streep isn't bad, she's certainly a lot of fun, but her character is the one who suffers most from the writing. She's a bit inconsiderate, trying to spin things the best possible way, but the comedy would have been strengthened by making her a complete idiot who couldn't stop herself from saying the dumbest stuff every time she had an opportunity to talk to scientists and people making serious plans. I guess sometimes you can't write anything stranger/funnier than reality. Blanchett is excellent, all super teeth and hair, and I must say that I was pleasantly surprised by Perry working so brilliantly in his co-anchor role, showing a real talent for being able to play comedy well by simply playing it straight (unlike the style of histrionics on display with his Madea character). Lynskey is a sweet and calm presence whenever she's onscreen, Rylance is amusingly unsettling in his constant awkwardness, and Chalamet is a great addition to the second half of the movie, as sweet and calming as Lynskey, in a way. Grande enjoys herself, and has a very amusing main scene talking to a character played by Kid Cudi, Perlman is hilarious in his very small role, and Patel is, well, his character feels completely extraneous, but he's as good as ever.

There's a decent score by Nicholas Britell and a number of songs that work well in the soundtrack, although the best one is the fake "Justt Look Up" song by Grande, as well as excellent sound design throughout, but this is a film mostly about the visuals, from the first sighting of the comet to the unavoidable ending. It's also a film about having your own kind of faith, something that McKay makes a hell of a case for in the third act.

The news keeps telling us how we can do better in our daily lives, with recycling, going vegetarian, using our car less, etc. Don't Look Up serves as a reminder that individuals aren't the big problem. The big problem comes from those with the money, with the power, and it is reassuring to think that their long-term plan for money to buy their way out of everything is a delusion. Because it is. That's not to say that we shouldn't all play our part in trying to ensure that we avoid being the species to destroy the entire planet. It's just that, as well as doing our small household part, we really do need to do whatever it takes to create a massive shift away from the unrelenting damage being done by companies headed up by people who will never make enough money to satisfy them. The irony being that this review will be shared on Facebook and Twitter after I wrote it on my beloved Macbook Pro, and you can all choose to read it on your smartphone of choice. But at least I have never been flown by private jet to a climate change conference. So, y'know, everything in moderation.

But I digress. This is a great comedy that consistently stays on point when it comes to the serious issue at the heart of it (the nonsensical equality that has developed between opinion and facts). A lot of the cast are giving brilliant performances, with the two leads absolutely perfect in their roles, and McKay continues his run of great films that have started to make his filmography a real treat for fans of comedy and social commentary.

8/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing. All links are HERE.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews

Prime Time: Seeking A Friend For The End Of The World (2012)

The directorial debut from Lorene Scafaria (who recently entertained audiences with the very enjoyable Hustlers), what you get here is a drama with some weighty themes that benefits enormously from a great script (written by Scafaria) and a pair of winning lead performances.

There's not long left. An asteroid is heading to Earth. The end is very much nigh. And things are made worse for Dodge (Steve Carell) when his wife leaves their car and just runs out of his life. So many people are taking the upcoming end of days as an excuse to cut loose and enjoy their time without real consequences, but Dodge just wants to connect with a special someone before it's too late. He ends up working towards this aim with a neighbour, Penny (Keira Knightley), and their journey takes some interesting turns, despite the knowledge that they're not going to have a happy ending.

We've seen films similar to this before. Someone finds out they don't have long to live, which in turn leads to them finally doing things they always wanted to do. The big twist here is that the new lust for wanting to make the most of a very truncated lifespan applies to pretty much everyone in the world. Many people indulge in a fair amount of hedonism, some riot, and some try to take control of their fate in other ways. Dodge actually acts quite normally, considering the circumstances. Although it may seem foolish, or like a missed opportunity, he is determined not to use the upcoming ELE to completely change how he lives his life. The biggest change he makes is being in the company of Penny, which is enough to lead to cause some serious repercussions.

Carell is superb in his role, no surprise to those who have enjoyed his dramatic work for a number of years now (he's as good with the drama as he is with the comedy, and I love his comedy work), and Knightley gives one of her best performances in a non-period film. The two work well together, an unlikely pairing made a lot easier to believe in thanks to the unusual circumstances that have led to them growing closer after a long time of not really taking any notice of one another. Connie Britton and Rob Corddry are a married couple viewing the limited time left as an excuse to be totally free, Adam Brody gets a few minutes of screentime, and you get some nice little turns from Melanie Lynskey, Martin Sheen, T. J. Miller, Gillian Jacobs, and quite a few other familiar faces.

Scafaria certainly doesn't feel like a first-timer here, directing with skill from her excellent script. This could easily have been either too light or too dark, making the casting of Carell in the lead role an extra risk, but she gets the tone perfect throughout. This manages to be bittersweet in the best way, providing a worthwhile journey for the main characters without letting viewers forget that, whatever happens, everything is still set to end when that asteroid hits.

Sweet, touching, different enough from many other movies you may have seen in this mould, Seeking A Friend For The End Of The World is one to prioritise on your viewing list. Definitely watch it before humanity goes extinct.

8/10

https://ko-fi.com/kevinmatthews

Netflix And Chill: XX (2017)

A horror anthology movie written and directed by women, hence the title (the two sex chromosomes that females typically have), XX is a film that I had heard a lot of negative talk about, so viewed with a small amount of trepidation. Thankfully, I enjoyed it a lot more than some other people. None of the segments are new favourites, but none are complete stinkers either.

There's an odd, and oddly enjoyable, wraparound that involves somelovely and dark animation, and the main stories are as follows: The Box (w/d: Jovanka Vuckovic, based on a story by Jack Ketchum) is all about a stranger who carries a box that a young boy looks inside, The Birthday Cake (d: Annie Clark, co-written with Roxanne Benjamin) is about a stressed mother trying to keep everything perfect for her young daughter's birthday party, Don't Fall (w/d: Roxanne Benjamin) is about a camper trip that goes awry, and Her Only Living Son (w/d: Karyn Kusama) is about a mother struggling to watch her son change as he approaches his eighteenth birthday.

Without meaning to offend the talented women working here, it's impressive that XX was put together with so many names that didn't have much of a proven track record, in terms of directed projects. Kusama has the most experience, which is perhaps why she has the tale that takes up the most breathing space, and Benjamin had a hand in the most excellent Southbound, but Vuckovic has only a handful of (admittedly well-received) shorts to her name, and this was the first directorial outing for Clark. There's enough consistency here, however, that you wouldn't really know who was newer to their role and who had been doing directorial work for years. It's an impressive selection of tales, handled well, and good to showcase the skills of everyone involved.

Considering the fact that three of the tales revolve around caring for children, and the third has some sibling dynamics between a brother and sister that will feel familiar to many, you can see that this is a film with, perhaps, a different look at things than the standard male gaze. It's a horror anthology, first and foremost, however, and the choices and style serve that, with plenty to chew on after the film is over for those wanting to consider how different this could have been if it wasn't also a chance to put women together and let them take an opportunity more often afforded to men.

Every tale is well-served by a talented cast. The biggest name is Melanie Lynskey, who elevates "The Birthday Cake" far above what it otherwise would have been, but everyone does a great job, with other highlights including the performances from Natalie Brown in "The Box" and that of Christina Kirk in "Her Only Living Son". Nobody really stands out in "Don't Fall", but that's simply down to the material being much more visceral and less focused on strong family bonds.

Viewed as a project that temporarily pushes women to the fore in the horror genre, this is a great success. But, and more importantly for any viewer who just stumbles across the film and decides to give it a go, it is a decent anthology movie for those who enjoy the form.

7/10

XX can be bought here.
Americans can buy it here.

They Came Together (2014)

As it's Galentine's Day, this review can appear here today.

Amy Poehler and Paul Rudd star in this spoof of romantic comedies that manages to have its cake and eat it, thanks to the mix of smart gags, fun performances, and moments of extreme silliness.

Poehler is Molly, a typical rom-com lead. She's a bit of a klutz, runs a little candy store, and is mostly content with her life. Rudd is Joel, also a typical rom-com lead. He's "handsome, but in a nonthreatening way. Vaguely but not overtly Jewish." He also works for CRS, a major company that's just about to potentially put Molly out of business. The course of true love is not destined to be smooth for this couple, and the film shows their ups and downs.

Directed by David Wain, who also co-wrote the screenplay with Michael Showalter, this gets everything right when it comes to emulating the style of the movies being spoofed. New York is a major character, as pointed out a number of times, the protagonists start off by disliking one another, assorted friends are pigeonholed as nothing more than varying viewpoints for the leads to use as sounding boards, there's a montage or two, and the climax involves a bit of a race against the clock, a standard for most rom-coms.

This is all well and good, but the masterstroke comes from the fact that the movie is presented as a tale being told by Molly and Joel while they enjoy a dinner date with two friends, Karen (Ellie Kemper) and Kyle (Bill Hader). This allows for plenty of comments on the unfolding events, and also one or two details that we discover may simply be the result of overactive imaginations. 

Poehler and Rudd are both perfect in their roles, of course, and Hader and Kemper both have fun either pointing out, or sometimes missing, the obvious while being told this particular love story. Jason Mantzoukas and Melanie Lynskey play the two friends who think that they're about to bring two lovely people together to form one lovely couple, Teyonah Parris is the one woman working for Molly who also offers helpful advice, and there are a few great cameos to make you smile. Christopher Meloni is the big boss at CRS, and shows once again how great he is at comedy, Michael Ian Black is a grade-A douchebag (and a lot of fun with it), Cobie Smulders is the girl with Rudd at the very start of the movie, and Ed Helms is someone who may try to win over Poehler's character, despite not really having any chemistry with her. At all.

Not all of the gags hit, which is almost inevitable in a comedy like this, but you're never far away from something that could make you laugh out loud. Fans of those involved will certainly have a good time, and fans of romantic comedies may also find that there's still enough here to keep them amused, even as the conventions and cliches are being mocked at every turn. 

7/10

http://www.amazon.com/They-Came-Together-Christopher-Meloni/dp/B00KVFHBLK/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1415555914&sr=1-2&keywords=they+came+together

Happy Christmas (2014)

Writer-director Joe Swanberg is quite a prolific guy. The last film that I saw from him was Drinking Buddies, which I found to be okay. With an interesting, and diverse, filmography, Swanberg is probably most associated with films that are labelled as "mumblecore" - films with very naturalistic styles and sometimes non-professional actors mixed in. You won't find any major set-pieces in mumblecore movies. The focus is, instead, on the everyday struggles that people go through, the decisions they make and the repercussions of those decisions. Or, as I like to think of them, some Swanberg movies are like feature-length equivalents of Seinfeld episodes. Without the humour. I know that sounds horrible, but it's not really. I'm just emphasising that movies don't have to be about anything in particular.

Swanberg also stars here as Jeff, a young man happily settled down with Kelly (Melanie Lynskey). The two have a baby and they're also about to welcome a new arrival . . . . . . . . in the shape of Jeff's younger sister, Jenny (Anna Kendrick). Jenny has recently split up from her boyfriend and is relocating, which means that she needs a temporary place to live. But it's not long until she shows that she's not always the most considerate person, which causes a few problems as the household tries to adjust to the new situation.

I can't criticise the acting here. Swanberg is solid enough, Kendrick and Lynskey are both as fantastic as they always are, and there are decent supporting turns from Lena Dunham, as Jenny's friend, and Mark Webber, as a man who Jenny may want to get to know a bit better.

It's just everything else that's the problem. None of the characters are that interesting, nothing about the situation creates the tension that Swanberg must think it creates, and a number of moments just feel unnecessary, which is surprising in a movie that only runs for about 80 minutes. It's not that there aren't moments of, say, confrontation. It's just that they don't seem symptomatic of anything major under the surface. Jeff and Kelly are a loving couple who are trying to balance their lives. Kendrick is a bit young and irresponsible. Oh no, good god, how will this group even get through a week together? People drink, sometimes to excess, and people smoke pot. Those things may have been more frowned upon decades ago, but they will barely cause people to so much as blink nowadays.

I've probably given the impression that I really disliked this movie. That's not true. I just didn't like it all that much. It's so just . . . . . . . . . . . . there . . . . . . . . that I can't bring myself to have any strong feelings about it whatsoever. You'd have a better chance of rallying around a group of people to help protest against the colour beige.

Swanberg has talent. There are often, at the very least, individual moments in his scripts that make that much clear. And he knows how to get great, naturalistic performances from his cast. Hell, he's a decent actor in his own right, and good on him for wearing so many hats at the same time without everything turning to complete crap. I just prefer it when he also seems to have something to say, and that wasn't the case here.

5/10

http://www.amazon.com/Happy-Christmas-Anna-Kendrick/dp/B00MEQUO8G/ref=sr_1_2?ie=UTF8&qid=1417694014&sr=8-2&keywords=happy+christmas

Touchback (2011)

Despite one or two titles that I couldn't get a hold of, this is the last stop on the big tour of Kurt Russell's filmography, those checking over his IMDb listing and wondering why I haven't covered Cutlass should know that it's a short film so I didn't include it here.
I did, however, INCLUDE it here (as it's available on YouTube) so enjoy.

Touchback is a typical, sentimental sports drama. Mix a bit of Field Of Dreams with It's A Wonderful Life with any number of American Football movies and you'll get this.

Brian Presley plays Scott Murphy, a broken man thanks to a sports injury from his youth. He has a lot to be thankful for in life, including his wife (Macy, played by Melanie Lynskey), but it's hard to see those through the haze of regret and frustration. It's especially hard for him when he sees former team-mate Hall (Marc Blucas) doing so well and in a relationship with Jenny (Sarah Wright), who used to be Scott's girlfriend in high school. After a particularly bad day, Scott sits in his truck and considers just what he has left to live for. He thinks back to high school and the most important game of his life, but is it just a dream or is something very strange allowing history to be changed, if Scott chooses to change it.

Ticking every single box that you expect to be ticked, and with no surprises whatsoever, Touchback shouldn't really be as enjoyable and moving as it is. Maybe I'm just getting soft in my old age. Or maybe it's just so easy to identify with. It's not really all about football, it's about those choices that we all make to set us on different paths. Consciously or not, we make numerous decisions every day that lead us to exactly where we are in the here and now. I often tell my wife, and I apologise for anyone feeling nauseous after reading this, that I don't mind all of the mistakes I made in my life because they piled up and led, ultimately, to our meeting and developing a relationship. How can I want to change anything that could then undo such a good result?

Writer-director Don Handfield does everything exactly as you'd expect. There's some humour here and there, but the focus is more on the prospect of seriously changing a whole life than any Back To The Future style shenanigans. There's plenty of manipulation, most of which I admit I fell for. Hey, it's effective and affecting by the time it all builds towards the big finale.

The cast all do a decent job, though nobody excels (except, perhaps, Kurt Russell in a wonderful supporting role - maybe he should play every team coach ever). Brian Presley is strangely absent in the lead role, but Melanie Lynskey puts in a much better performance. Marc Blucas and Sarah Wright are perfectly fine in standard jock and cheerleader roles, respectively, and Kevin Covais joins in with some of the more fun moments as Todd White, a young, non-sporty man once bullied by Scott who now finds himself being befriended by the guy. And Christine Lahti also does well with her limited screentime, playing a mother who may not get along to watch her son in action on the football field, but who is always very proud of him.

The pacing, the dialogue, the shot choices, it's all by-the-numbers stuff. But that doesn't mean that it's bad, it's just never great.

6/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share