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Tabari McCoy

McCoy on Movies: You’re Cordially Invited

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“Did you touch my drum set?” Jim Caldwell (Will Ferrell, left) talks with Margot (Reese Witherspoon) in a scene from writer/director Nicholas Stoller’s YOU’RE CORDIALLY INVITED. © 2023 Amazon Content Services. All Rights Reserved.

WATCH THE TRAILER HERE:

KEY CAST MEMBERS: Will Ferrell, Reese Witherspoon, Geraldine Viswanathan, Meredith Hagner, Jimmy Tatro, Leanne Morgan, Stony Blyden, Celia Weston, Jack McBrayer and Rory Scovel

DIRECTOR: Nicholas Stoller
 
THE BACK STORY: Jim Caldwell (Will Ferrell) is a widower who loves his only child, his daughter Jenni (Geraldine Viswanathan). So when she returns home to tell him that she’s engaged to her boyfriend Oliver (Stony Blyden) instead of that she’s moving back home, he is taken aback to say the least. Once the initial shock is gone, he decides to celebrate the occasion by booking their wedding at the same island resort he and his late wife got married.
 
Margot (Reese Witherspoon) is a successful reality TV producer living in LA who misses her baby sister (Meredith Hagner) dearly since she is kind of her best friend, daughter and husband all in one. But when she arrives on the scene with Dixon (Jimmy Tatro) in tow, she is ecstatic to learn they are also engaged and – surprise – pregnant – to boot. Wanting to ensure nothing but the best for her little sister, she books the same place they used to spend so much time as children having fun with their late grandmother.
 
But as hotel manager Leslie (Jack McBrayer) is soon to learn, his mother forgot to inform him that both Jim had already booked the same wedding date that Margot has. (Let’s just say she was indisposed – permanently.) And since the island can only accommodate one wedding per weekend, the two headstrong would-be wedding planners are going to do whatever it takes to ensure the special day for the bride to be.
 
Even if it results in near disaster. 

 

THE REVIEW: YOU’RE CORDIALLY INVITED is a movie you can tell the cast had a lot of fun making. The characters are likable enough, the run time isn’t excessive and it’s got a few decent guffaws in the mix to keep you watching till the end. 

 

And that’s about all you really need to know about the latest film from Nicholas Stoller, which is streaming now on Amazon Prime. Because if you already have the service, it’s a nice way to kill about an hour and 40 minutes of a Friday night in or a Saturday afternoon. But given the generally silly nature of the affair, it’s not going to be the movie that makes anyone sign up for added benefits from Jeff Bezos’ studio arm.

 

Witherspoon is at her best when she plays the woman coming to grips with her situation and realizing things about herself after interacting with others. Ferrell is at his best when he’s allowed to go fully goofy while being genuine yet stupid in the process. That’s why sometimes when the jokes feel a little forced and the situations too outrageous, the likable nature of the actors is called upon again – and again – to keep things going. There are times when the film feels like it would be better served going into more a focused tone with other moments feeling like it would be better going for the full joke instead of feeling restrained. Celia Weston adds a nice amount of balance to the mix with Leanne Morgan subtly stealing each scene she’s in, but the film feels like a diet version of some of Ferrell’s better work while trying to delve into some positive messages about family dynamics, but few people will remember that with the silliness preceding it. 

 

In short, YOU’RE CORDIALLY INVITED is fine for a short stay, but more than one viewing will be enough to convince most it has overstayed its welcome.

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

 

 

McCoy on Movies: Red One

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Red One an entertaining albeit mismatched,
well-meaning Christmas action movie

 
“So … You know I could beat Cody Rhodes, right? All I need is one WWE contract …” Krampus (Kristopher Hivju) sizes up Callum Drift (Dwayne Johnson) in a scene from director Jake Kasdan’s RED ONE. Credit: Frank Masi/Prime © 2022 Amazon Content Services LLC.

WATCH THE TRAILER HERE:

 

 

KEY CAST MEMBERS: Chris Evans, Dwayne Johnson, Lucy Liu, Kristopher Hivju, Kiernan Shipka, Mary Elizabeth Ellis, Wesley Kimmel and Bonnie Hunt with J.K. Simmons

 

DIRECTOR: Jake Kasdan
 
THE BACK STORY: Santa Claus needs a lot of help to make Christmas happen every year. From the trolls and elves needed to sort and organize toys to those who help keep his reindeer healthy, Nick (J.K. Simmons) has plenty of assistance. That includes Mrs. Claus (Bonnie Hunt) and Callum Drift (Dwayne Johnson), the head of his security detail working under Zoe Harlow (Lucy Liu), the director of an organization that keeps track of all the creatures of the mythical world. 
 
Jack O’Malley (Chris Evans), however, is only concerned with one person and one person only: himself. That’s among the reasons he will take on any nefarious job thrown his way, the man known only as “The Wolf” on the dark web specializing in finding people that can’t be found. Unfortunately for his ex Olivia (Mary Elizabeth Ellis), that doesn’t extend to finding time to spend with his son Dylan (Wesley Kimmel).
All their worlds are about to collide, however, once Jack helps an unknown client track down a secret location in the North Pole that just so happens to be jolly ol’ – and very in shape – St. Nick’s home. Who has kidnapped Santa Claus and why is a mystery Cal and The Director realize they can’t solve, so they decide to bring in some outside help in the form of Jack – and he’s going to help them whether he as a Level Four “Naughty Lister” likes it or not.

 

THE REVIEW: RED ONE is entertaining, thanks to the strong performances of the cast, its action sequences which don’t feel overtly hokey or forced and relatable story. However, given that the aforementioned action sequences and language are far too intense for anyone under 10, the message of the film is geared more towards adults and it’s length at just over 2 hours in length, it’s also a movie without a defined audience. While the film explores one of the lost staples of Christmas – seeing the goodness in others – it also cuts off the carrot off its snowmen’s respective faces by not quite fitting into one particular audience. 

 

For all his recent WWE and athletic prowess, RED ONE reminds us that behind Johnson’s physicality also lies a man capable of conveying emotion with a simple gaze, vocal tone or smile. Johnson plays well against Evans’ character’s very anti-Captain America-like behavior, which never feels forced or included for the story’s sake. It’s the classic “I don’t like you, I don’t like you either” polar opposites formula, but it works as both Evans and Johnson execute it well. 

 

The biggest standpoint performances, however, belong to the film’s lesser-known cast members.  

Kiernan Shipka’s portrayal of Gryla, the evil Christmas witch, is never out of place, helping to make her a formidable foe once she is introduced into the story, even her own personal backstory never truly comes into focus. It is Game of Thrones alum Kristopher Hivju, however, who steals the show as Nick’s half brother Krampus, so much so that if he were to get his own spin-off film, it might do better than RED ONE is likely to do on its own.

Overall, RED ONE is an entertaining affair, but its constant flip-flopping between wanting to be an action movie and a family affair makes for a balanced experience that ends up feeling unbalanced for the very audiences it seeks to attract. It’s sort of like Cars meets The Fast and the Furious, which while entertaining on their own aren’t exactly the easiest mashup to make work together. It’s got just enough to keep you watching, but not enough to truly hook you into adding it to your Christmas classics list.

To quote the Bible verse where the quote is found, “no one can serve two masters.” In the case of RED ONE, trying to make a Christmas action movie feels like trying to serve to audiences at once, possibly to its own detriment even though, in the end, it works better than it should.

If nothing else, one thing is for sure: You’ll never look at Rock ‘Em, Sock ‘Em Robots the same way ever again.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

 

 

McCoy on Movies: PIECE BY PIECE

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Pharrell Williams gets animated in director Morgan Neville’s visually stimulating and inspiring LEGO® documentary

“You know, even as LEGO® men, no one know what the heck Daft Punk looks like under these helmets!” Daft Punk and Pharrell Williams take the stage in a scene from director Morgan Neville’s PIECE BY PIECE, a Focus Features release. Credit: Courtesy of Focus Features / © 2024 FOCUS FEATURES LLC.

WWATCH THE TRAILER HERE:

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KEY CAST MEMBERS: Gabriel Labelle, Cooper Hoffman, Rachel Sennott, Ella Hunt, Cory Michael Smith, Dylan O’Brien, Matt Wood, Lamorne Morris, Nicholas Braun, Kim Matula, Tommy Dewey, Nicolas Podnay, Ellen Boscov, Emily Fairn, Andrew Feldman, Taylor Gray and Mcabe Gregg with J.K. Simmons and Willem Dafoe

DIRECTOR: Morgan Neville
 
THE BACK STORY: Pharrell Williams is nothing short of a modern day musical wunderkind. He’s produced scores of hits for some of the biggest stars in hip-hop, R&B and even pop music, not to mention his work with his band N*E*R*D (No One Ever Really Dies) and his solo career. But how in the world did a kid who grew up feeling like an outsider in Virginia grow into one of the most influential music composers of the last 35 years? Through the magic of LEGO®, director Morgan Neville – along with 3D animated versions of some of music’s most important figures – seeks to explain how he built up his career PIECE BY PIECE.  

 

THE REVIEW: A story presented in a format that captures the childlike imagination, whimsy and dreams that inspired its subject, PIECE BY PIECE shows that there is not only life in LEGO® filmmaking, but why Williams’ story is one worth telling. In doing so, the film delivers a portrait of an artist that despite making millions, feels relatable to men, women and children worldwide who dare to be creative and follow their dreams.

 

An animated documentary, let alone one told through animated bricks – let alone one that has to follow scores of LEGO® films that were essentially comedies or traditional comic book-style tales – wouldn’t work for most people. With PIECE BY PIECE, however, we are given an extraordinary insight into Williams’ mind, the path he took to become who he is and the passions that drive him. But in exploring those passions and seeing how they impacted his journey, moviegoers are treated to a story visually is suited for children, but delivers insights directed at the inner child in all of us.

Director Morgan Neville makes wonderful use of the LEGO® format, using the notorious bricks many a parent has stepped on in the middle of the night to showcase different emotions with an Inside Out-like flair. The whimsical figures relay the happiness of Pharrell’s big break and realization of when he has a hit on his hands exceptionally; likewise, disappointments, failure and loss seemingly hit harder watching the animated spirit that is Williams’ fade in his darkest moments. PIECE BY PIECE works so well in both instances due to the inherent nature of both toys and, as its subject mentions in the film, the ability to use them to craft a world out of one’s own desires and creativity.

The LEGO® format allows Neville to bring the complexities of Williams’ creativity and worldview to life in a manner that might not work as well in a traditional format, leading to eye catching imagery memorable as the soundtrack. Remarkably, one needn’t be a Williams fan to enjoy the storytelling of the film nor catch the inspiration it provides (although it certainly would help – brush up on your Golden Era hip-hop and 90s R&B, kids!).

In inviting us to come experience his story, Williams will likely end up inspiring the film’s audience to go explore their own … And that, in addition to clever humor, perfectly sequenced storytelling and a thumping soundtrack, is what makes PIECE BY PIECE a masterpiece.

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

 

McCoy on Movies: Saturday Night

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Jason Reitman’s dramedy brings to life the chaos behind the magic of the origins of Saturday Night Live

The teaser poster for director/co-writer Jason Reitman’s SATURDAY NIGHT. © 2024 Columbia Pictures. All Rights Reserved.

WATCH THE TRAILER HERE:

KEY CAST MEMBERS: Gabriel Labelle, Cooper Hoffman, Rachel Sennott, Ella Hunt, Cory Michael Smith, Dylan O’Brien, Matt Wood, Lamorne Morris, Nicholas Braun, Kim Matula, Tommy Dewey, Nicolas Podnay, Ellen Boscov, Emily Fairn, Andrew Feldman, Taylor Gray and Mcabe Gregg with J.K. Simmons and Willem Dafoe

DIRECTOR: Jason Reitman
 
THE BACK STORY: On Oct. 11, 1975, the world was introduced to the original Not Ready for Prime Time Players, a.k.a. the cast of a comedy and music program called NBC’s Saturday Night, known today as Saturday Night Live. Fast-forward some five decades later and Saturday Night Live – SNL for short – would go on to not just become a hit, but an institution that would go on to birth the careers of some of the biggest names in entertainment.

 

But for those in the know, it wasn’t always that way; in fact, the first episode of the now iconic show almost never made it to air. But if young upstart producer Lorne Michaels (Gabriel Labelle) – along with the backing of his estranged wife/staff writer Rosie (Rachel Sennott) – has anything to say about it, that’s not going to happen.

 

It seems that NBC’s cash cow, Johnny Carson, has gotten into a tiff with the network, making Michaels and his company a potential pawn for their ongoing negotiations with their star. But despite that – in addition to fighting actors, drug use, potential censorship, production problems and a network executive (Willem Dafoe) ready to pull the plug on everything, Michaels isn’t ready to give up anytime soon. For the show must go on, as they say, and in the case of Saturday Night, go on it shall.

 

THE REVIEW: Saturday Night is a lot like an episode of Saturday Night Live itself: It takes a while to find its footing, but once it does, it showcases the magic that has enabled the show to stay on the air for 50 seasons and counting.

 

Labelle captures the spirit of young Michaels perfectly, emulating everything from his famous brevity in conversations and the fine line between his confidence/anxiety to his ability to wrangle talent that often needs saving from themselves. Much like his real-life counterpart, Labelle’s performance is the glue that holds the film together, existing as the one constant in the sea of chaos that is and remains SNL.

 

Of course, Labelle wouldn’t be able to shine so brightly without the efforts of the cast, each providing an insight into both the absurdity of putting on a show like SNL and the humanity underscoring it.

 

Whereas Dylan O’Brien is terrific as the young, vibrant version of Dan Aykroyd that was bold, fierce and energetic, Cory Michael Smith embodies the on camera smug hilarity on camera – and documented egotistical terror off – that is Chevy Chase. Likewise, whereas Nicholas Podany, Taylor Gray and Mcabe Gregg capture the hungriness of young Billy Crystal, Al Franken and Tom Davis all hop sing for the chance to get on the air. Tommy Dewey perfectly presents the IDGAF nature of the late Michael O’Donoghue, Ella Hunt projects Gilda Radner’s eternal optimism to see the good in people and situations in spades. Cooper Hoffman’s embattled Dick Ebersol adds drama to the mix without ever feeling like he’s being dramatic for the sake of it, an important distinction that showcases his on screen skill.

 

Who arguably shines brightest in an ensemble cast about a show featuring an ensemble cast of differing personalities and experiences? Matt Wood and Lamorne Morris (no relation) as John Belushi and Garrett Morris, respectively. Whereas Wood hauntingly channels the mercurial complexity that was Belushi as both the artist and a man, Morris showcases the regalness and talent of the man with whom he shares a surname.

 

Then again, there’s really not a bad performance in the bunch, with everyone from J.K. Simmons as Milton Berle to Finn Wolfhard as an NBC page adding another ingredient to a near perfect dramedy recipe. If anything, one may feel a little melancholy for Laraine Newman as Emily Fairn’s portrayal comes across a tad like that of a small-town girl in over her head. (There also are hints at a romantic subplot with O’Brien’s Aykroyd that never come to fruition on screen, both in terms of portrayal and story.) Ironically enough, the film’s relatively unknown cast mirrors the spirit of the 1975 group of hungry performers looking for a chance, their performances showing the same talent and potential of their real life counterparts.

 

Of course, director Jason Reitman has to be given a massive amount of credit for pulling off Saturday Night as a film telling the story of the famed TV show. (A feat which he nonetheless does close to the actual show’s 90-minute airtime to boot.) The end result? A film that is essentially a love letter to an entity that has gone on to inspire thousands of comedians and actors over the decades by presenting all of the drama and hard work to entertain millions. 

 

That, in the end, makes Saturday Night worthy of a curtain call – or at least a viewing at your local cineplex.

 

 

 

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

McCoy on Movies: The Bikeriders

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Butler, Comer and Hardy lead Jeff Nichols’ motorcycle-driven snapshot of masculinity in THE BIKERIDERS


WATCH THE TRAILER HERE:

 

THE BACK STORY: Inspired by Danny Lyon’s book of the same name, THE BIKERIDERS stars Jodie Comer as Kathy, a woman living in/around Chicago in the mid 1960s. She is the paramour of Benny (Austin Butler), a rebellious young man who only cares about two things: His Harley-Davidson motorcyle and The Vandals, the bike club of which he is a member. The Vandals are essentially his family as he spends the majority of his time with its various members doing whatever it is they wish to do at any given moment. 
 
The Vandals are led by Johnny (Tom Hardy), a stoic figure who’s presence is understated, yet fully commanding in as much as he doesn’t say compared to what he does. This is why he is rarely challenged, both on decisions and for leadership of the club, making him an inspiration to members like Cockroach (Emory Cohen), Zipco (Michael Shannon), Wahoo (Beau Knapp), Brucie (Damon Herriman) and Corky (Carl Glusman). They live life as they ride: Free and uninhibited with their brothers – and the occasional lady – at their side. 
 
But as The Vandals begin to rise in prominence, they also begin to rise in notoriety, leading to run-ins with the law, townspeople and other bike clubs. But as Danny (Mike Faust) – a college student who interviews Kathy and documents the club’s activities, the goal being to produce a book one day – Kathy and The Vandals will come to learn that all good things must eventually come to an end …
 
THE REVIEW: Did you catch wind of that recent social media debate about which would a woman choose if she was stuck in the middle of the woods with the option of a bear or a man? Watching THE BIKERIDERS, the reasoning behind what would seem to be the ludicrous choice becomes clear from one scene to the next. For in presenting a masterful depiction of the rise of the American motorcycle club and its eventual demise from its glory days, writer/director Jeff Nichols and company have created a definitive 120 minute visual showcase of two words – toxic masculinity – inadvertently. 
 
This is not to suggest by any means that the film is quote-unquote “bad” by any means; instead, in creating a tribute to the men (and women) that have been romanticized in popular culture, THE BIKERIDERS – whether intentionally or unintentionally as it seems – exposes the pitfalls and trappings of what is supposed to define masculinity (being “cool,” “macho” and rebellious) for what they really are: Broken men looking for a sense of family, belonging, self-worth and purpose that have perpetuated from their origin to the 21st century.
 
While his turn as Elvis Presley may not have made him the true household name he surely sought to become, THE BIKERIDERS should help propel Austin Butler to the forefront. Coming with the standard issue teen idol/boyband heartthrob visual presentation, Butler shows that he can work a leather jacket, motorcycle and sideburns and not the other way around. While his character could easily come off as one note (and at times, almost does through no fault of his own due to the circumstances around him), Butler commands attention in each scene he in which he appears.
This in turn plays well off of Hardy’s stoic, Tony Soprano-like performance as Johnny, a man who despite what should be considered the perfect family life for his era, desires something different, something animalistic, something more – his bike club allowing him to enjoy the king of the jungle status so many men crave.  This makes he and Butler’s character two peas in a proverbial pod, the old lion with his young apprentice, both of whom desire to be free of anything (except possibly each other) in an “us against the world” manner for the ages.
In turn, this makes the various members of their club – Army burnouts, blue collar workers who wouldn’t stand out from the pack – look up to them, aspiring to be what they believe they are (true men) and unable to see their faults and flaws. This in turn is reflected in Toby Wallace’s pivotal character, the classic product of a 1960s broken home who sets out to be the opposite of what he feels – trapped, lacking power and unable to become his own man. This is why he sets out on such a destructive path which, of course, leads to pivotal (if not predictable) moments in the film. Yes, there is brotherhood and camaraderie with certain times that reflect the “live free” spirit that THE BIKERIDERS seeks to celebrate … But it’s extremely hard to ignore the cost that comes with it.
This is why the film being narrated by Comer’s character makes for the most interesting component of the film. In Kathy, we don’t get so much of a woman discussing her wild times with her man, but almost more of a mother discussing her children, hoping that all of her prodigal sons will one day return home safely even though she knows they won’t. (Maybe that’s why a friend who is also a parent left an advance screening of the film, the moments of violence and profanity aside? Then again, this isn’t exactly her “type” of movie to begin with, but I digress …)
In a world where ideology is constantly evolving, THE BIKERIDERS, for some, will seem like a breath of fresh air, showcasing a time when “men were men” and how one should look to set their own path as opposing to bowing to society’s standards. For others, it may seem like a documentary of the Cro-Magnon mindset seemingly responsible for all the world’s current major problems – and who’s to say which is right?
As a film, however, THE BIKERIDERS is entertaining – and maybe just leaving it as an intriguing piece of cinema versus the inspiration for a way of life is where it would best be served.

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

McCoy on Movies: BAD BOYS: RIDE OR DIE

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Lawrence, Smith showcase their chemistry to make familiar police action movie tropes feel entertaining in latest Bad Boys franchise installment

 

Grand Theft Auto … But you get to play as the cops? The theatrical coming soon poster for Sony Pictures’ BAD BOYS: RIDE OR DIE. Credit: © 2024 Sony Pictures. All rights reserved.

WATCH THE TRAILER HERE:

 

KEY CAST MEMBERS: Will Smith, Martin Lawrence, Vanessa Hudgens, Ioan Gruffudd, Tasha Smith, Jacob Scipio, Rhea Seehorn, Eric Dane, Alexander Ludwig, Melanie Liburd, Paola Núñez, Joe Pantoliano, Dennis Greene and Quinn Hemphill with John Salley and Tiffany Haddish

DIRECTOR: Adill & Bilall (Adil El Arbi and Bilall Fallah)
THE BACK STORY: BAD BOYS: RIDE OR DIE picks up following the death of the beloved Captain Howard (Joe Pantoliano), the mentor of his beloved “bad boys” team of family man Marcus’ (Martin Lawrence) and perennial playboy Mike Lowery (Will Smith). His passing has Mike putting things in perspective and settling down, marrying his new wife, Christine (Melanie Liburd). Likewise, their old friend Rita (Paola Núñez) has taken the reigns as the new captain of the department, a position from which she can oversee things – including her boyfriend Lockwood’s (Ioan Grufudd)’s possible ascent to mayor of Miami. 
 
But when Marcus has a medical episode at Mike’s wedding, he begins to have visions: Of both Captain Howard and a situation that is going to force Mike – who he now deems his soulmate across multiple existences – to make a hard choice. 
 
Turns out Marcus won’t have to wait long for that to happen. For while he is battling his sweet tooth, he and Mike soon find themselves battling the unexpected: News that Captain Howard may, in fact, have been working with the very cartel that killed him – and killed him via a hit ordered that was executed by Mike’s estranged son Armando (Jacob Scipio). But knowing the type of man Captain Howard was, both Mike and Marcus know that can’t be true. 
 
What is true, however, is that John McGrath (Eric Dane) is hot on their trail and about to let a series of events unfold to make the men used to being the hunters become the hunted.
 
THE REVIEW: The BAD BOYS franchise, now four films deep, isn’t one you come to for deep, tightly written twists and turns of good vs. evil. No, BAD BOYS is a franchise built around speed, exotic nightlife, humor, gunplay and chemistry among its characters. The latest installment, BAD BOYS: RIDE OR DIE is proof that while the franchise is definitely showing its age like its stars, it has no intentions of slowing down since all the things that have helped carry it along are still present.
 
Lawrence and Smith are at their best playing off each other with quips and jabs before eventually saving the day. RIDE OR DIE attempts to raise the stakes a little bit by giving the characters a little more emotional depth by confronting them with their past sins. In Marcus’ case, his poor diet choices and newfound love of life; in Mike’s case, that means dealing with the scars of seemingly always losing the people he loves while trying to rectify his relationship with the one person still here that is not his wife in Armando. 
 
Even with all those things taken into consideration, RIDE OR DIE plays out pretty much like a standard buddy cop action movie – the fun of watching Lawrence and Smith together like an old married couple being the thing that keeps it from being one. All the other characters are fairly standard issue save for the strong physical performances exhibited by Scipio – a potential future leading man if Hollywood finds the right role for him – and a sequence featuring Marcus’ son-in-law Reggie (Dennis Greene) that adds some nice surprising energy. 
 
The extended action sequences are also well done, which helps keeps things moving along – a must when you have by-the-book villains and a plot that has more holes than it should if you begin to examine it too much. (This is one of those “don’t think, just watch” movies where you can turn off the logic and give in to your more base desires as to do otherwise will ruin your fun.)
 
Outside of that, RIDE OR DIE is a standard action movie ride along. But when you have two entertaining leads like Smith and Lawrence, you get a film that will keep the peace on screen and with movie audiences.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

McCoy on Movies: Kingdom of the Planet of the Apes

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Kingdom of the Planet of the Apes explores the best, worst of humanity, society effectively

“OK, one of us forgot our deodorant, which is a shame because we all could use a bath at this point!” Ambitious Eagle Clan survivor Noah (voiced by Owen Teague) and Raka (voiced by Peter Macon, far right) find themselves making a dangerous journey alongside their newfound human companion Mae (Freya Allen) in a scene from director Wes Ball’s KINGDOM OF THE PLANET OF THE APES. Credit: ©2024 Twentieth Century Studios. All rights reserved.

WATCH THE TRAILER HERE:

 

KEY CAST MEMBERS:  Owen Teague, Freya Allan, Kevin Durand, Peter Macon, Travis Jeffrey, Lydia Peckham and William H. Macy

DIRECTOR: Wes Ball
THE BACK STORY:  Taking place several generations after the rule of Caesar, the ape who would lead his species to prominence once a man-made virus gives primates intellect while rendering humanity speechless, we are introduced to Noah (Owen Teague). A member of the Eagle Clan, Noah – along with his friends Anaya (Travis Jeffrey) and Soona (Lydia Peckham) – is looking to graduate into adulthood by completing a ritual of their clan: Grabbing a young eagle egg from a nest to raise as their own. 
 
What Noah doesn’t know or suspect, however, is that the blanket that is taken from his horse will end up changing his entire clan’s fate forever. For once an elder warrior goes out to investigate, a warrior clan acting under the order of Proximus (Kevin Durand) is set to devastate anything in their path. Worse yet, the clan has the audacity to yell “For Caesar!” who has risen to mythical status … Even if his ideals are no longer being followed by Proximus or any of those under his rule.
 
As fate would have it, Proximus’ grand designs for the future lead to a life-altering experience for the Eagle Clan, leaving Noah out on a path seeking revenge. Along the way, he will encounter an orangutan who knows the true nature of Caesar in the friendly Raka (Peter Macon) … But perhaps most surprising will come when he runs into an “echo” – or “Nova” as Raka calls them – in the form of Mae (Freya Allen). While at first scared, Mae reveals a secret in a startling fashion that will also rock Noah’s world.
 
But what awaits them as the face their destiny could alter the future for apes and humans forever .. 
 
THE REVIEW: The detailed, evolving (pun intended) story has been one of if not the best aspects of the Planet of the Apes franchise since it was rebooted in 2011. KINGDOM OF THE PLANET OF THE APES continues that tradition, exploring the ideas of legends versus reality, power versus purpose and – as if ripped from today’s headlines – the idea of being able to coexist with others different from us in every way save for wanting the same thing: A peaceful way of life for those whom we care about.
 
For a film with essentially only two meaningful humans on screen, KINGDOM makes the most of its ape acing core to build upon the previous installments of the film while setting a meaningful stage for the next installment. Superhero film directors could learn a lot from Ball and his team with their work on KINGDOM, the effects making the old Charlton Heston films feel as dated as the acting within them.
 
Whereas Proximus and the idea of more is an easily relatable theme, his warning to Noah feels as true as it is sad when posted up against today’s political climate. Whereas trust can be weaponized for the advancement of one group versus another, KINGDOM also shows (albeit with a significant amount of blatant foreshadowing) what earned trust can be worth, why violence isn’t the answer and how man – or in this case, man and ape – often get in their own way of finding the way of life they wish to live. If there are criticisms to be had, it might be in the form of pacing (the first 30-40 minutes feel way longer than they are) and possibly the way in which William H. Macy’s character comes across as necessary yet one note. 
 
Those minor issues notwithstanding, KINGDOM OF THE PLANET OF THE APES achieves what it sets out to dow what so many have tried over the course of humanity: Remember that the word “humanity” includes the word “human,” even if it takes a bunch of apes to remind us of the best and worse of us as a species.

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

 

McCoy on Movies: Ghostbusters: Frozen Empire

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“Frozen Empire” shows latest “Ghostbusters” adventure not completely thawed out as much as it should be.

The teaser poster for GHOSTBUSTERS: FROZEN EMPIRE. Credit: Sony Pictures Publicity.

 

WATCH THE TRAILER HERE:

 

KEY CAST MEMBERS: Paul Rudd, Carrie Coon, McKenna Grace, Finn Wolfhard, Emily Alyn Lind, Logan Kim, Celeste O’Connor, Annie Potts, Kumail Nanjiani, James Acaster, Dan Akroyd, Ernie Hudson and Bill Murray with William Atherton

DIRECTOR: Gil Kenan
THE BACK STORY: Picking up after the events of Ghostbusters: Afterlife, GHOSTBUSTERS: FROZEN EMPIRE finds Gary Grooberson (Paul Rudd) now living with his girlfriend Callie Spengler (Carrie Coon), her now 18 and clamoring to be an adult son Trevor (Finn Wolfhard) and daughter Phoebe (McKenna Grace). Gone is the family house in the middle of nowhere Oklahoma, however, as the quartet is now living inside the Ghostbusters’ old firehouse in New York City. 
 
It’s a good thing, too, because it seems that something strange is always popping up, much to the chagrin of now Mayor Walter Peck (William Atherton). The organization’s longstanding oldest human nemesis, Mayor Peck is tired of the Ghostbusters’ constant destruction despite their work to constantly save the city, which is why he’s always looking for a way to shut them down. 
 
Phoebe, however, is dealing with her own problems. Informed she can’t be out working due to only being 15, Phoebe feels extremely out of place not being able to do anything, especially since it seems no one truly understands her. That’s why when she is greeted by a teenage spectre in the form of Melody (Emily Alyn Lind), she is happy for a newfound friend, even if they exists on two literally different astral planes.
 
There is something Phoebe, Gary, nor the rest of her family know, however … For while Raymond Stantz has been keeping up his fascinations with his occult book store and Peter Venkman is off doing Peter things, Winston Zeddmore (Ernie Hudson) has been using his company to study ghosts up close and personal. The research has brought about many revelations in ghost containment, which is good given that the old firehouse unit may be reaching capacity.
But what does any of that have to do with Nadeem Razmaadi (Kumail Nanjiani) and the strange brass ball that used to belong to his grandmother that he just sold to Ray? Let’s just say whatever is inside definitely wants to get out and turn the world into its own frozen empire …
 
THE REVIEW: After the maligned release that was 2016’s Ghostbusters installment, 2021’s Ghostbusters: Afterlife was a refreshing installment that honored the past films while carving out its own niche. In short, it felt like a new chapter in a story that enhanced it, capturing the sentimental and sweet with the funny and sarcastic.
 
GHOSTBUSTERS: FROZEN EMPIRE, however, by and large mostly just feels like a sequel. Save for the teenage coming of age elements of Grace’s character’s story – Is she out of place because she’s smarter than most of the adults? Is her relationship with Melody one that would be romantic if possible? – the story moves along, but lacks anything that makes it feel like other than what it is: A sequel that is okay but not on par with its predecessor. 
 
Many of the jokes feel like heavy-handed, well worn gags, the villain is almost an afterthought up until the last 20 minutes and Nanjiani feels a little out of place. The film’s narrative is also guilty of doing a lot of telling versus showing to keep things moving along and Murray dare I say feels like he’s just going through the motions when he’s onscreen. Then again, the visuals are nice, Grace does a lot of heavy lifting to give the film some sort of emotional center and the aforementioned last 20 minutes is an entertaining climax. 
 
That all being said, unless you are a diehard Ghostbusters fan (note: the author would include himself in that mix), you won’t really feel like you’re missing anything if you don’t catch FROZEN EMPIRE on the big screen. It’s a perfect Saturday afternoon movie for when you’re at home cleaning the house or not doing anything else, but if you’re worried whether or not you need to rush out to catch the latest installment, the answer sadly is no.
 
I ain’t afraid of no ghost, but I am afraid that the latest installment is more “okay” than it is spell-binding. 

 

 
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

McCoy on Movies: THE AMERICAN SOCIETY OF MAGICAL NEGROES

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Writer/director Kobi Libii strikes a strong social cord with satirical exploration of American society’s relationship to African-Americans with debut feature

“I heard the NPR reviewer didn’t like our movie … Looks like we better send them a magical Negro of their own …” Aren (Justice Smith) looks on as Roger (David Alan Grier) prepares to show him how to diffuse a potentially dangerous interaction in a scene from writer/director Kobi Libiii’s THE AMERICAN SOCIETY OF MAGICAL NEGROES. Credit: © 2024 Focus Features. All Rights Reserved. 
WATCH THE TRAILER HERE:
 

KEY CAST MEMBERS: Justice Smith, David Alan Grier, An-Li Bogan, Drew Tarver, Micaela Watkins and Nicole Byer

DIRECTOR: Kobi Libii
THE BACK STORY: Ahh … The magical negro. First coined by Spike Lee in response to all the black characters that would appear in movies for no other purpose than to serve as a spiritual Jiminy Cricket or Tinkerbell to the lead white protagonist, the magical negro has existed in many forms on screen.
 
But what if they existed in real life? In writer/director Kobi Libii’s documentar-er, social satire, they are.
 
THE AMERICAN SOCIETY OF MAGICAL NEGROES stars Justice Smith (The Get Down, Jurassic World: Fallen Kingdom) as Aren, a yarn sculptor – yes, yarn – who’s career is going nowhere. He is, however, good at one very specific thing: Making white people feel comfortable around him … If they even notice he’s in the room, that is. That skill is what catches the attention of Roger (David Alan Grier), a bartender at the art gallery at which Aren is showing his work, which leads to him revealing a secret …
Roger is part of the aforementioned American Society of Magical Negroes, a collective of black people with magic powers which they use to keep white people happy and achieving their dreams. Why? Because in doing so, they help reduce the chances of other black people from getting unjustly fired from jobs, arrested – or worse. Showing Aren what he can do after inadvertently helping save him from a potential drunken Karen, Roger brings him to the secret society’s headquarters where he gets the full rundown. Skeptical at first, Aren eventually relents and decides to join up as Roger’s protege.
On assignment, Aren gets paired up with Jason (Drew Tarver), a depressed tech bro who works at a Facebook-esque social media company. And things are going well enough … Until they aren’t. Why? Because of the presence of Lizzie (An-Li Bogan), Jason’s boss. She’s cool, she’s hip, she’s smart and she’s funny … And she’s the same girl for whom Aren also has eyes.
Knowing that magical negroes must always put their clients’ happiness first before their own, Aren finds himself at a crossroads: Does he sacrifice the first person who’s made him feel good about himself or preserve the safety of all black people in America? For if one magical negro blows their assignment, all of their fellow negroes’ magic will cease to work.
 
THE REVIEW: THE AMERICAN SOCIETY OF MAGICAL NEGROES is a social satire. For many people of color, however, watching the film may feel more akin to watching a documentary. For in touching upon how fictional characters have navigated white society for years dating back to the early 1900s, the film subtlety touches on real aspects of the modern experience, especially in how a post-2020 has made it even more necessary. 
 
Validating how cool a non-POC is due to their outfit, knowledge of 90s hip-hop or sneaker collection? Check. Being the black friend they can speak they can “speak honestly” with without fear of retribution? Check. Explaining that someone isn’t a bad person just because they had no clue about something that culturally affects and/or has been affected black people for eons that they’ve clearly ignored all the signs of, dialogue about and/or protests? Check.
Why do I say all these things? Because these are things that I personally have experienced, which is something I’m quite confident I’m not alone in experiencing. And with his debut feature THE AMERICAN SOCIETY OF MAGICAL NEGROES, writer/director Kobi Libii brings those feelings to the forefront for the entire world to see in humorous, yet heartfelt fashion.
Some may take issue with the underlying romantic comedy notions – let alone Smith’s character falling for a non-black female lead. That idea, however, undercuts one of the prime stories present in the film that is also present for many black people in real life: Just being free to do, say, think whatever and fall in love with whomever you like without worrying about how someone else – in this instance, white people – are going to react to or feel about it.
In turn, one can live their life how they see fit instead of always trying to appease someone else out of fear of retaliation, inferiority complexes and/or hatred for their simple achievements. Don’t believe me? Take a look at the average headline with the dreaded letters “DEI” in the title. Whereas some outright refuse to acknowledge a system that has benefitted them, others take the stance of, “If someone else is getting closer to me socially/economically/civil rights-wise, I MUST be losing my status at the top of the food chain.” With THE AMERICAN SOCIETY OF MAGICAL NEGROES, Libii dives deep into corporate structure and shows how its the subtle things that people may not even realize that can have significant, lasting impact in both a positive and unfortunately more often than not, negative sense.
Smith is perfect as a nondescript everyman, the type that would hear “I don’t even think of you as black” as if that is some sort of complement from start to the film’s apex. But in watching him navigate the world around him, his slow own self-denial of his situation evolves into revelations that might feel revelatory to some and shocking-for-not-being-able-to-see-it-until-its-pointed-out-in-blatant-fashion to others. This in turn makes his relationship with Bogan’s character such a joy to watch – for despite being two people who would seemingly be from very different worlds, their connection to each other is so undeniable it’s a pleasant reminder of what the human experience should be in a world where, unfortunately, it just isn’t.
Of course, David Alan Grier is excellent in his role as the wise, old sage trying to guide his young apprentice. For a man well-known for his comedic prowess dating back to the late 80s/early 1990s – YES, In Living Color really is more than 30 years old – watching him delve expertly between comedic and dramatic has always been one of if not his best skill. THE AMERICAN SOCIETY OF MAGICAL NEGROES gives him a chance to do so adeptly as he showcases his range.
Sadly, in the wake of the stellar American Fiction – doesn’t it feel like that’s going to be the “here’s your good black film, now let us just acknowledge that and move on?” movie of 2024 following the Academy Awards – THE AMERICAN SOCIETY OF MAGICAL NEGROES is likely to get lost in the shuffle. Some of that may be due to its title; some of it may be due to lack of starpower and buzz it has … And some may be to general disinterest.
Then again, come to think about it – general disinterest in the African American experience is quite an American experience, which kind of explains how we got here in the first place, don’t ya think?

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

 

 

McCoy on Movies: Drive-Away Dolls

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Ethan Coen’s latest cinematic escapade one not worth the drive 

 

“Maybe there’s a better movie hiding in this trunk?” Jamie (Margaret Qually) and Marian (Geraldine Viswanathan) take in an unexpected discovery in a scene from co-writer/director Ethan Coen’s DRIVE-AWAY DOLLS, a Focus Features release. Credit: Jojo Whilden © 2023 Paramount Pictures. All rights reserved.
WATCH THE TRAILER HERE:
 

 

 

KEY CAST MEMBERS: Margaret Qualley, Geraldine Viswanathan, Beanie Feldstein, C.J. Wilson, Joey Slotnick, Colman Domingo, Bill Camp, with Pedro Pascal and Matt Damon


DIRECTOR: Ethan Coen

THE BACK STORY: The scene: Philadelphia 1999, right on the verge of Y2K. Jamie (Margaret Qually) is a free-spirited individual who likes to have sex with any woman she sees fit, much to the chagrin of her police officer girlfriend Sukie (Beanie Feldstein). Marian is a very uptight woman stuck in an office job who can’t seem to move on from her last girlfriend years ago … Which is why she decides to plan a trip to Tallahassee, Fla., to go visit her Aunt Ellis (Connie Jackson). 

Seeing how Sukie has had enough of her cheating, Jamie invites herself along for the ride, determined to get her best friend some romantic action. Problem is, the duo don’t have a way of getting there. That’s when Jamie comes up with the idea to find one via a car delivery service owned by the understated Curlie (Bill Camp). Curlie just so happens to have a Dodge that needs to get to Tallahassee the next day, so the girls take the charge and are off.

Problem is, that Dodge contains two very special items in its trunk that the hot-headed Flint (C.J. Wilson) and his more even-keeled partner Arliss (Joey Slotnick) are supposed to pick up and drive to Tallahassee. What are they? Well, let’s just say they both once belonged to The Collector (Pedro Pascal) and now, much to his chagrin, they don’t … and The Chief (Colman Domingo) is determined to get them to his client. Who is his client, you ask? Senator Gary Channel (Matt Damon), a conservative, family-oriented politician desperate to get the silver briefcase and its contents back.
 
So what happens when an uptight, introverted lesbian hits the road with her good-time seeking fellow lesbian while unknowingly being pursued by two thugs over 1,000 miles? You’ll have to see the movie to find out.
 
THE REVIEW: Sometimes, you watch movies and go “This isn’t for me.” It happens. Maybe it’s because you don’t like the dialogue. Perhaps its because the subject matter doesn’t interest you. It could even be that the scenario is so ludicrous that unless you see Chris Bridges pop up in between Fast & Furious movies and State Farm commercials, you can’t buy in.
 
In the case of DRIVE-AWAY DOLLS, it’s all three coupled with just the sheer absolute goofiness of the film from start to finish.
 
Alongside his older brother Joel, Ethan Coen has made his fair share of beloved cinematic excursions. This include Fargo, Burn After Reading and No Country for Old Men. With Drive-Away Dolls, Coen has also delivered a film that might become a cult classic among the LGTBQIA+ lesbian community for its depictions sexuality and self-discovery … But not among anyone looking for a good movie.
Save for the scenes feature Beanie Feldstein, the humor – when present – in DRIVE-AWAY DOLLS fails to deliver its intended result. One day, filmmakers will learn quirky for the sake of quirky isn’t comedy; it’s just annoying – and unfortunately, for every one person that find’s Qualley’s character funny, someone else will see that person that ruins a party with their loud, obnoxious and “well, this is happening, so just roll with it” behavior. She is a pure antagonist to the point you often find yourself feeling bad for Viswanathan’s character.
Make no mistake, diversity in mainstream film is an important thing that needs to be encouraged and supported. That being said, DRIVE-AWAY DOLLS at times feels a little more exploitative than inspired in terms of its characters’ sexuality. (Editor’s note: As a heterosexual, cisgender male, I understand I am not the target audience for the film. However, I know that when I’m watching an extended scene that feels like it is included simply for either shock value or the audience’s titilation, it is a bit distracting to say the least.) And in case you needed someone to just say it for you, DRIVE-AWAY DOLLS is NOT going to make any routine Fox News’ watcher’s top 10 list for 2024.
Save for one very poignant sequence of Viswanathan’s and Qualley’s characters respectively coming to truly understand their relationship, a large portion of the film suffers from a Wes Anderson-level of quirky for the sake of quirky with ridiculous characters, dialogue and actions. While the film’s final 20-25 minutes do ramp things up in terms of watchability and enjoyment, the preceding hour is inane enough to make most audiences not care once they arrive.
Here’s to hoping that DRIVE-AWAY DOLLS is the start of more representation of the LGTBQIA+ community on screen but the last time they are showcased in such silly fashion.

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

 

McCoy on Movies: Mean Girls

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“Lindsey Lohan? Never heard of her …” Regina George (Reneé Rapp, center) holds court in the lunchroom with Gretchen Wieners (Bebe Wood) and Karen Shetty (Avantika) in a scene from Samantha Jayne and Arturo Perez, Jr.’s production of MEAN GIRLS. Credit: Jojo Whilden © 2023 Paramount Pictures. All rights reserved. 

WATCH THE TRAILER HERE:

 

 
KEY CAST MEMBERS: Angourie Rice, Jenna Fischer, Reneé Rapp, Auli’I Cravalho, Avantika, Bebe Wood, Jaquel Spivey, Christopher Briney with Busy Phillips, Tim Meadows and Tina Fey

DIRECTOR: Samantha Jayne and Arturo Perez Jr.
THE BACK STORY: Based on the hit musical – which itself is based on the original hit 2004 theatrical film – Mean Girls stars Angourie Rice as Cady Heron, a young girl who has been homeschooled by her mother (Jenna Fischer) while living in Kenya. Ms. Heron, however, has taken a job back in the United States, meaning Cady is about to get her first taste of what life is like in an American high school.

And that’s where she encounters a cast of characters that are going to change her life.

After meeting her new homeroom teacher Ms. Norbury (Tina Fey), Cady is observed by Janis (Auli’I Cravalho) and Damian (Jaquel Spivey), two social outcasts who quickly see she needs a rundown of the law of the land. That means letting her know about the Plastics, a.k.a. queen of the school Regina George (Reneé Rapp) and her two faithful underlings, the clueless Karen Shetty (Avantika) and the smart-yet-still-fearful-of-her Gretchen Wieners (Bebe Wood). None of this would be a problem for Cady if Regina hadn’t also taken an interest in her … And Cady took an interest in Aaron Samuels (Christopher Briney), a.k.a. her ex. 

So … What happens when you mix teenagers, insecurity, hormones and life lessons all to the beat of a diverse musical soundtrack? A film that is sure to turn plenty of potentially mean older fans into pleasantly surprised moviegoers …

THE REVIEW: The musical version of a beloved stage production … Sometimes, it can turn out great (like Les Misérables) …Other times, you get Cats. But creating a movie musical based on a stage musical that was originally a film that came out just 20 years – YUP, 2004 was two decades ago now – ago? Now that could be a daunting task for any directing duo … But for one that is primarily known for shorts and music videos like Samantha Jayne and Arturo Perez Jr.? It has “make or break” written all over it.

Fortunately for Jayne and Perez, Jr. – and fans of the original film – Mean Girls 2024 makes for an entertaining film fans old and new will enjoy.

 
Here’s what works well about the musical film adaptation of Mean Girls: The story is told efficiently through a clever mix of traditional dialogue and song, the latter diving deeper into their respective characters’ psyches, motivations, fears and insecurities in a way the original did not. In addition, the dance sequences enhance each moment or scene in similar fashion, serving as a complement rather than a distraction. 

None of this would matter, however, without the performances of the relatively unknown cast. Whereas Rice channels Cady with the same innocence Lindsey Lohan did in the original, Rapp owns pretty much every scene she’s in – while yet being more relatable arguably than Rachel McAdams was in the role in 2004. Wood likewise gives Gretchen considerable spunk and Avantika plays her role with such a wide-eyed aloofness it honors the work her predecessor Amanda Seyfried did and then some. 

Cravalho and newcomer Spivey, however, may have the best star turns of the entire affair, each bringing a dynamic (and needed) entertainment aspect to the film. Fey, Tim Meadows (reprising his role as the beleaguered Mr. Duvall) and the other adults are wise to mostly stay out of the way, letting the young people – even though it’s hard to buy in to most of the cast outside of Rice, Cravalho and Avantika being in their teens –  shine. Of course, Jayne and Perez, Jr. deserve kudos for their interpolation of TikTok and the modern world into the mix to deliver the best package possible – then again, having Fey on board for this go round likely helps.

Whether you prefer the 2024 version of Mean Girls likely comes down to how much you love the original versus you love musicals. The new one has all the exploration of the insanity that is high school, the humor and utlimately the empowerment that made the original so beloved by so many, plus a few new wrinkles thrown in for good measure. Thus, both are fine, both are entertaining …

And don’t worry, both are worthy of fetch-ing your attention.

 
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: Old Dad

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Bill Burr’s directorial debut for Netflix delivers laughs despite uneven storytelling

 
The poster for the new Netflix comedy OLD DADS. Credit: Netflix © 2023 Netflix. All rights reserved. 

 

WATCH THE TRAILER HERE:
 

 

KEY CAST MEMBERS: Bill Burr, Bobby Cannavale, Bokeem Woodbine, Katie Aselton, Rachael Harris, Jackie Tohn, Katrina Bowden, Reign Edwards, Miles Robbins and Josh Brener

DIRECTOR: Bill Burr

THE BACK STORY: Directed and co-written by Bill Burr, OLD DADS stars the comedian as Jack, a man who has a young son (Dash McCloud), loving wife in Leah (Katie Asleton) and two great friends in Connor (Bobby Canavale) and Mike (Bokeem Woodbine). Jack, Connor and Mike are also the co-owners of a throwback sports apparel company and are about to cash out in hopes of living the good life.

They are also in their very late 40s/early 50s, don’t like change and have some anger management/maturity issues. In Jack’s and Connor’s respective cases, they are also fathers of young children – and Mike? Well, more on that later …

Unfortunately for the trio, they are also struggling to stay in touch with today’s modern world, its trends and most of all, its sensitivities. So, be it the holier-than-thou attitude of his son’s kindergarten principal Dr. L (Rachael Harris), his new 28 year-old boss Aspen Bell (Miles Robbins), Connor’s overbearing wife (Jackie Tohn) and/or his miscreant son (Dominic Grey Gonzalez), Jack is nearing a breaking point. 

And as you might expect, when Jack and his friends break, a lot of feelings – and possibly some bones – are going to get hurt.

THE REVIEW: Burr has well-documented his journey as both an older father in real life and coming out of a traditional nuclear family in 1970s Massachusetts throughout his career. It’s served as fodder for many of his stand-up routines, his Monday Morning Podcast (and its Thursday follow-up) as well as his previous Netflix effort, the animated F is for Family. Thus, for those familiar with his work, OLD DADS will feel familiar with many jokes aimed at pointing out the hypocrisy and silliness (at times) of modern culture wars and aging … In a way that is likely to almost infuriate the very people who won’t see the humor in what is being criticized given the film’s language, viewpoints and nudity. (Yup, there’s nudity)

That notwithstanding, OLD DADS is a lot like parenthood itself: Entertaining at best, uneven and a little dystopian at its worst while in general doing a decent enough job at presenting its story. Some scenes feel to drag on unnecessarily while others feel inserted for the sake of being a funny moment rather than a moment that helps progress the story along. 

What does work, however, is that it is clear that as a director, Burr understands how a story arc should work, involves his characters so that their interactions don’t feel forced or ludicrous (even though some of their scenes togethers do) and how to deliver jokes that don’t feel recycled. It will be interesting to see what his next effort produces as OLD DADS shows he has come strong potential as a feature filmmaker … Even if that may come with a lot of not-so-safe for work – or millennials – content. 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

 

 

McCoy on Movies: THE BURIAL

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Jamie Foxx, Tommy Lee Jones show spirited life in crowd-pleasing
Amazon Studios inspired by true events

“When I move, you move – just like that!” Willie Gay (Jamie Foxx, center) and Mike Allred (Alan Ruck, to the immediate left of Foxx) prepare for war a.k.a. litigation against Ray Loewen’s massive funeral empire in a scene from THE BURIAL. Credit: Skip Bolen © Amazon Content Services. All rights reserved.

WATCH THE TRAILER HERE:

KEY CAST MEMBERS: Jamie Foxx, Tommy Lee Jones, Mamoudou Athie, Jurnee Smollett, Alan Ruck, Bill Camp, Pamela Reed, Dorian Missick and Amanda Warren
THE BACK STORY: Inspired by true events, THE BURIAL stars Jamie Foxx as Willie Gay. Who is Willie Gay? Well, he’s a self-made man, the son of sharecroppers in Florida who has created his own mini legal empire. A superstar lawyer, Willie hasn’t lost a case in 12 years, which is why he has a 50-room mansion, luxury cars and the “Wings of Justice,” his own private plane.
By comparison, Jeremiah “Jerry” O’Keefe is a fairly simple man to say the least. The owner of eight funeral homes in Southern Mississippi, he’s hoping to leave the family business (which he inherited from his father) to his extended family. Given that he’s got double digit children of his own and even more grandchildren, that legacy is one he takes very seriously. Unfortunately, some bad business deals have left Jerry needing income quickly – which is why he decides to take the advice of his longtime lawyer and friend Mike Allred (Alan Ruck) and sell three of his funeral homes. The buyer? Ray Loewen (Bill Camp), the billionaire owner of Loewen Corp, the funeral industry giant with more locations than Willie has jewelry … And Willie has a lot of jewelry.
But when the handshake deal between Loewen and Jeremiah goes south, Jerry’s young apprentice lawyer seemingly in training Hal Dockins (Mamoudou Athie) assesses the situation and comes to a realization: Given the demographics of the county where Jerry’s lawsuit has been filed, having a lawyer that is both talented and that the jury will likely identify with is going to be crucial to winning the case. That lawyer? Yup, you guessed it, Willie Gay.
Apprehensive to take the case at first, Willie eventually relents and begins preparing. But Loewen has deep pockets and hires an extremely talented legal team of his own that is also well-suited for the jury. It’s leader? Mame Downes (Jurnee Smollett). And as Willie is about to find out, Downes is nicknamed “The Python” for a reason.
So … What happens in this David vs. Goliath legal tale for the ages that delves into everything from contracts to family to shady business and even African-American history that Ron DeSantis and Sarah Huckabee Sanders will hate? You’ll have to get Amazon Prime to find out.
THE REVIEW: THE BURIAL is entertaining for many reasons. It’s not just because Foxx and Jones are accomplished actors who can convey a broad range of emotions, have a great chemistry and are able to take their characters’ contrasts and transcend them into appeal that cuts across demographics. Likewise, it’s not because the film hits all the standard courtroom drama beats without feeling like a song that has been played to death (no pun intended).
No, it’s not even because Athie may be the greatest actor alive at playing “the sky is falling and what are we going to do” black guy in ages. (The fact he is smiling in his imdb.com picture feels shocking given his on screen presence.) What makes THE BURIAL work so well is the interplay between the characters that makes their relationships interesting.
Jones and Foxx characters exhibit an onscreen bond that makes their friendship feel as genuine as it was in real life. Likewise, the competitive yet professional respectfully battle between Foxx and Smollett heightens drama to the situation without ever feeling corny or superficial. As a character driven film, both situations are crucial to the film’s enjoyability; otherwise it could play out like your average TV drama. Instead, the film has a bit of the same vibe as AIR, both exploring how their situations are far more important and deeper than the subject matter would originally have you believe. Every character learns a lesson without feeling preachy or superficial, another facet of the film director Maggie Betts deserves kudos for execution-wise.
A film that is the definition of an audience pleaser without feeling sappy or superficial (save for some outrageous courtroom moments), THE BURIAL proves that Jones’ and Foxx’ respective careers are very much alive.
If nothing else, you will never listen to Toni, Tony, Toné the same ever again.

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

 

McCoy on Movies: STRAYS.

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“The audience might be as high as we are if they find this entertaining!” (From left): Bug (Jamie Foxx) Reggie (Will Ferrell), Maggie (Isla Fisher) and Hunter (Randall Park) prepare to have a snack – with unexpected consequences – in a scene from STRAYS. Credit: Chuck Zlotnick/Universal Pictures © 2023 Universal Pictures. All Rights Reserved.

WATCH THE TRAILER HERE:

 
DIRECTOR: Josh Greenbaum

KEY CAST MEMBERS: Will Forte, Brett Gelman, and the voices of Will Ferrell, Jamie Foxx, Isla Fisher, Randall Park, Josh Gad, Harvey Guillén, Rob Riggle, Jamie Demetriou and Sofia Vergara

THE STORY: Brought to you (in)famously by the team behind Cocaine Bear and 21 Jump Street, STRAYS centers on Reggie (voiced by Will Ferrell), a naive, optimistic Border Terrier who doesn’t realize his owner Doug (Will Forte), hates him. Like, really hates him. That’s why when Doug finally is able to ditch him on the streets of the Pacific Northwest, he has no idea what’s going on.
Bug, a Boston Terrier (voiced by Jamie Foxx) with a literal love of couches, however, does. That’s why he decides its best to hip Reggie to what’s happening alongside his crew of Maggie (voiced by Isla Fisher), an Australian Shepherd and Hunter, a stressed out Great Dane (voiced by Russell Park) who doesn’t want to stop wearing his protective cone. Once Reggie realizes what’s happened, he decides his time to take revenge against Doug by biting off his favorite toy (and TRUST ME, it AIN’T a toy!).
But will Reggie get his revenge? There’s only way to find out …
THE REVIEW: Let me be brief: I liked Cocaine Bear. I own 21 Jump Street on Blu-Ray.  STRAYS, however, shouldn’t be adopted by movie audiences.
In fact, for neutering comedy the ways it does, it should be put down with extreme prejudice.
There are essentially three joke subjects in strays: Feces, sex/bodily fluids and anatomy. That’s about it. And they are worn out to death in the dumbest, grossest fashion possibly for 90+ minutes. As a stand-up comedian, I know that when used well, profanity can be of the highest verbal linguistics (see Pryor, Richard and Carlin, George for proof). STRAYS, however, uses profanity (along with the aforementioned three other subjects) so gratuitously that it becomes as ineffective as it is offensive. And it’s plenty offensive simply for how much it wears out those three tropes.
I for one am extremely happy Jamie Foxx is doing better after his recent health episode not only for his own well-being, but for the fact this hopefully won’t be his last theatrical release. The film tries to break free from its 14 year-old boy juvenile nature in its last act … Only to have that derailed by more silliness before the eventual “I guess I’m still watching this” ending. Forte is a shoo-in for a Golden Raspberry nomination, which might be the only endorsement PETA or the SPCA might give this gross-out trainwreck of a comedy. I mean, the long-forgotten The Happytime Murders was FAR more entertaining than this even though you knew it was wrong (and Jim Henson Studios HATED what it did to puppets), but STRAYS …. Not so much. When you find yourself asking “How did this get made?!” and “How much money was wasted on this?!” you probably won’t be thinking “sequel!”
They say all dogs go to heaven – but as STRAYS proves, there really are some bad dogs in this world and this movie is full of them.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

McCoy on Movies: Barbie: The Movie

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The beloved children’s doll comes to life in a perfect for adults comedy/musical/drama that will entertain, inspire

“Where’s Allan and Skipper? Oh don’t worry – they’re around!” Barbie (Margot Robbie) and Ken (Ryan Gosling) as seen in the official poster for director/co-writer Greta Gerwig’s comedy/drama/musical BARBIE. © 2023 Warner Bros. Pictures. All Rights Reserved.

WATCH THE TRAILER HERE:

 
DIRECTOR: Greta Gerwig

KEY CAST MEMBERS: Margot Robbie, Ryan Gosling, Simu Liu, America Ferrera, Ariana Greenblatt, Michael Cera, Issa Rae, Kate McKinnon, Will Ferrell, Kingsley Ben-Adir, Rhea Perlman and the voice of Helen Mirren

THE BACK STORY: Inspired by the iconic doll of the same name, Barbie stars Margot Robbie in the titular role as a stereotypical Barbie doll living in Barbieland. She is stereotypical in that she walks with arched feet perfect for her high heels, every day is the best day ever and she spends most of her time hanging out with her fellow Barbies like President Barbie (Issa Rae), Mermaid Barbie (Dua Lipa) and other more career-minded versions of herself. Also propagating Barbieland are the Kens, including her boyfriend (Ryan Gosling) and his top rival (Simu Liu). There’s also Ken’s sidekick Allan (Michael Cera), but no one pays any attention to him.
Things start to take a turn for our golden girl, however, when she begins having thoughts about death and her feet flatten out unexpectedly. This leads her to seek out the wisdom of the abused but resilient Weird Barbie (Kate McKinnon), who explains what’s happening: A very sad girl in the real world – yes, the Barbies know there is a difference between them and humans – is playing with her and altering her existence in Barbieland. Thus, she must travel the mystical space from Barbieland to the real world and help make her sad real world owner happy again.
Also tagging along for the ride? Well, her boyfriend Ken of course. Arriving in Los Angeles, Barbie and Ken discover that real world is nothing like either of them thought … Which leads to some very precarious situations. And once the head of Mattel (Will Ferrell) finds out, the desire to literally put stereotypical Barbie back in her box becomes paramount.
But how do a simple receptionist (America Ferrera) and her estranged daughter (Ariana Greenblatt) fit into helping Barbie get back home, restore Barbieland and prevent a potential disaster that could alter both of their worlds forever? You’ll have to watch the movie to find out!
THE REVIEW: How do you take a beloved yet controversial children’s toy and make a two-hour opus of comedy, music and drama that is funny, poignant and – dare it be said – inspiring? You do what director/co-writer Greta Gerwig and her script partner Noah Baumbach have done with BARBIE.
 
Barbie – which is probably best left in the viewing pleasure of those 16 and up so they can catch all the cultural references and homages to decades of the character’s history – features a perfect mix of self-awareness, irreverence and heart. With Robbie and Gosling leading the way under Gerwig’s watchful eye, the film acknowledges all of the factors that have made her a staple of many children’s childhood while at the same time having fun with all of the things it has been criticized for throughout its history.
The twist, however, is that while it acknowledges those flaws, the film uses them as opportunity to talk about change in a way that shows how BARBIE is really just a reflection of the society in which she exists. This leads to moments of self-discovery for Barbie (and thus the audience), realization and empowerment in a way that genuinely may lead to inspire women of all ages.
That being said, the BARBIE experience is a phenomenal ride of comedy, music and sentiment thanks to the aforementioned stellar performances of Robbie, Gosling and their cast mates. The skill with which they bring their characters – none of whom are exactly known for their verbal history – to life is a masterclass in acting. Whereas Robbie gets to look pretty (she is Barbie, after all), she brings a score of humanity to a toy that has been criticized for the plastic nature – pun intended – of her supposed existence and affect on little girls worldwide.
This in turn makes her journey of self-discovery one that is not about a toy, but coming to grips with reality and finding your place in the world in which you live. That, of course, is just one of the messages that is delivered without being preachy or forced, making the film’s rather dramatic final 40 minutes a perfect compliment to the lighthearted 80 that precedes it.
Gosling’s performance is pretty much everything you could want out of playing the most famous fake boyfriend of all-time. Aloof and goofy to perfection while showing his character’s desire to just be respected, it feels like Gosling is channeling Terry Crews’ President Camacho from Idiocracy (which sadly feels more like a documentary than comedy at this point) with his comedic timing. His singing, dancing and rivalry moments with Liu’s character are just as outstanding, proving that his La La Land work wasn’t just a fling.
The same can be said for the rest of the cast, be it Cera’s perfect “This is what Michael Cera excels at” turn as all-around good guy Allan or Rae’s encapsulation of President Barbie. Whereas McKinnon’s excellent portrayal as the Barbie little girls mangle is hits every beat about the reality of what being a Barbie can be, Ferrell’s portrayal as a man who profits off of a woman’s idea but is (mostly) self-aware of it are both uproarious. Add Ferrera’s and Rhea Pearlman’s characters to the mix as older, wiser women who know just how special Barbie can be and it’s easy to understand how she became an iconic figure long before she hit the big screen.
Performances aside, there are just so many details that Gerwig places into the film that significantly impact the audience’s enjoyment of the film in a positive way. This includes everything from a masterful use of Barbie’s signature color palette to life-size constructions of notable toys and wardrobes to breaking the fourth wall and playing on the idea of what would Barbie really say and do if she were alive. From “what did they just say?!” moments to homages to classic Barbie fare, the film never really misses anytime it swings since the cast and crew are all committed.
Make no mistake: In the wrong hands or with a different vision, BARBIE could easily become a mess of a film that feels cartoonish, a half-baked money grab or just unnecessary. Instead, Mattel’s ability to step back and allow Gerwig and company to virtually have no limits on their creativity has created a film that will likely be viewed as classic as the doll that inspired it.
In short, BARBIE features a girl living in a Barbie world – and we would all be better off if we could live in it, too.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

McCoy on Movies: Asteroid City

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Wes Anderson’s latest film lands with a crater-like thud of jumbled, unfulfilling quirks and boring execution and familiarity

“Hello? Otto? I don’t know A Man Called Otto – this is a entirely different cinematic story, sir!” Auggie Steenbeck (Jason Schwartzman) chats with the father (Tom Hanks) of his now-deceased wife about his current plight in the mysterious desert town of ASTEROID CITY. Credit: © Courtesy of Pop.87 Productions/Focus Features 

 

WATCH THE TRAILER HERE:

 
DIRECTOR: Wes Anderson

KEY CAST MEMBERS: Jason Schwarzman, Scarlett Johansson, Tom Hanks, Jeffery Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Stephen Park, Rupert Friend, Maya Hawke, Ethan Josh Lee, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, Jake Ryan and Jeff Goldblum

THE BACK STORY: A story within a story, ASTEROID CITY begins with a narrator (Bryan Cranston) who introduces us to Conrad Earp (Ed Norton), a 1950s-era playwright in the throes of his latest work: “Asteroid City,” a desert town somewhere in between California, Nevada and New Mexico (presumably near Route 66) famous for its asteroid crater. A group of high school geniuses is about to converge on the one gas station, one diner and 10-spot motel town (population 87) for the awarding of a scholarship, which will be presented by General Grif Gibson (Jeffrey Wright).
Driving one of the geniuses is Auggie Steenbeck (Jason Schwartzman), a man accompanied by his three aspiring witch elementary school age daughters named after constellations and Woodrow (Jake Ryan), his eldest child that has already figured out what his dad needs to tell the family: Their mother died three weeks ago. But once their car breaks down and the town mechanic (Matt Dillon) says it’s gone for good, that prompts Auggie to call his father in law Stanley (Tom Hanks) to pick up the girls while his son attends the high school event.
Also attending the gathering? Film actress Midge Campbell (Scarlett Johansson) with her estranged genius daughter (Maya Hawke), Roger Cho (Steven Park) with his school newspaper genius son Ricky (Ethan Josh Lee) and J.J. Kellogg (Liv Schreiber) with his “someone dare me” son Clifford (Aristou Meehan).
Outside the pages of “Asteroid City,” however, the production team has its own issues as its director (Adrien Brody) is going through a personal turmoil and Earp is having trouble getting his story to progress.

 

THE REVIEW: I am going to open this in the tone and pace of a standard Wes Anderson character.
At 6:30 p.m., the screening started.
At 6:36 p.m., I checked my watch as I knew I was in for a long cinematic experience.
At 6:52 p.m., I contemplated leaving the theater and acting as if I had achieved something in true Wed Anderson character fashion, knowing I would be exposed by my fellow critics would not let me get away with my actions.
At 7:06 p.m., I nearly fell asleep until I felt my body slump in my non-reclined Barcalounger
At around 7:50 p.m., something interesting happened. There was also a moment of nudity that, while unnecessary, broke up the monotony of the pretentious, self-indulgent, quirky for the sake of quirky characters with dialogue that is supposed to feel artistic and stylish but in reality is overwrought if not also often nonsensical.
At about 8:10 p.m., I began preparing for the eventual summation scenes that, despite so much build up, will have hardly any true resolution and the film will just end awkwardly.
By 8:30 p.m., my nightmare was over, serving as a reminder to never give it to the temptation to watch another Wes Anderson film again only to realize I will somehow likely be suckered back in this vicious cycle yet again.
Wes Anderson aren’t about anything but Wes Anderson. The characters are always the same. The may vary in terms of age, ethnicity or sexual orientation, but THEY. ARE. ALL. THE SAME. They speak in ways no human being would ever speak, both in terms of vocabulary, sentence structure or the way they interact with one another, from their clipped, hushed tones to the robotic, emotionally unavailable yet wishing they could be mannerisms.
There is always a child that is smarter than an adult (a staple of an Anderson composition). There is always a person trying to control something that is not in their control (in this instance, it’s Wright as a general trying to keep order in a small desert town, Schwartzman as a new widow and Hanks as his estranged father in law) … And there is always a woman who or two that is beautiful but is very self-aware of how their physical presence is harmful to themselves or others (see Johansson’s character as a mother) … There’s also always Jason Schwartzman and Tilda Swinton.That’s just a fact.
Asteroid City isn’t just bloated by the staples of Anderson’s films. It’s also got the story within a story thing happening and one is far more interesting than the other, which simply seems to serve no purpose than to find a way for Cranston to provide his best Rod Serling imitation while Norton channels his best Truman Capote. It’s never feels like an homage, however – it just exists. And therein lies the problem.
As is the case with so many of Anderson’s films – The Fantastic Mr. Fox standing out as exception more and more with each new release – these stories just exist. There is nothing captivating, enthralling, enticing, exploratory or exciting. They just take up space on the screen like the characters often do in each other’s realities. That’s before you get into the whole discussion of how the story-within-a-story doesn’t work one iota, instead becoming a jumbled ensemble (an Anderson staple on steroids in ASTEROID CITY) with characters just taking up time and energy that should have been devoted to focusing on just a few to make a better film. (I don’t know what it is that makes actors go “I can have four lines for a non-memorable character in a 2-hour Wes Anderson movie?! I’ll take it!” but given that he repeatedly can find big names that will do it, I’m just happy he directs movies instead of political campaigns.)
It’s like being in a coffee shop with a hipster who is annoyed with other hipsters trying to be the ultimate hipster to establish their dominance … Only for those hipsters to be attempting the exact same thing to the chagrin of everyone else in the room who just wanted fresh java to start their day. Wes Anderson movies are only for people who like complaining about people who don’t “get” Wes Anderson movies, which reinforces Wes Anderson’s want and desire to make them regardless of whether he actually should.
In the end, the reality of Anderson’s latest work is this: 20+ plus years of watching the same movie has left this reviewer with a strong desire for an asteroid to obliterate whatever scripts he has waiting in the wings.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):