#hi its late and the public bus system made me lose a big deal of energy but im still giggling about this

[briiightesthue]

“Wait hold on these are really good.”

“What happens when he’s angry? Uncle Madstone. What happens when he’s upset? Uncle Sadstone. If he was cooler? Uncle RADSTONE. What happens when he upsets my brother? Uncle Badstone.”

[weekendwarriorblog]

The ThanksgivingWarrior 11/25/20 – THE CROODS: A NEW AGE, MA RAINEY’S BLACK BOTTOM, ZAPPA, HAPPIEST SEASON, STARDUST and More!

It’s Thanksgiving weekend, and usually I’d be struggling to figure out how much the new movies might make in what is normally one of the most unpredictable weekends at the year. Wait a second. I’m getting déjà vu here. Didn’t I say this exact same thing in the intro for last week’s column? Probably. Let’s face it, kids. I am absolutely losing my mind with how bored I am getting looking at my laptop screen all day long, even though I’ve now set up a pretty sweet new TV system to watch stuff on!

Anyway, there is one family movie coming to theatres this weekend, and in any other Thanksgiving weekend, I’d suggesting getting out and going to theaters, but at this point in the pandemic, with COVID numbers so bad that even I, “Mr. Reopen the Movie Theaters!” can’t recommend going to see a movie in theaters… well, except maybe in New York City, where they’re still closed. Sigh. 

We’re going to do things a little different this week, because I wasn’t able to get to as many movies as I wanted but didn’t want to delay the column to Thanksgiving Day. Instead, I’ll post what I have done on Wednesday, then check back here on Friday when hopefully I’ve added a few more reviews. Cool?

Fortunately, the new animated sequel from DreamWorks Animation and Universal Pictures, THE CROODS: A NEW AGE, is a lot of fun, and this is from someone who really enjoyed the first movie quite a bit. The sequel’s premise is as simple as you can get: caveman family The Croods (voiced by Nick Cage, Catherine Keener, Emma Stone, Clarke Duke and Cloris Leachman), along with Ryan Reynold’s Guy, are still trying to survive in the wilds until they encounter a beautiful oasis that turns out to be the home of the more-evolved Bettermans, Phil (Peter Dinklage), Hope (Leslie Mann) and Dawn (Kelly Marie Tran).

I really liked the original The Croods quite a bit, so I’ve  been waiting patiently for DreamWorks to figure things out for a sequel. My instincts were definitely spot-on, because even if the original premise sounded a lot like The Flintstones, putting those voice actors together, even if it’s just Ryan Reynolds and Emma Stone proved to be quite prescient. A big part of the sequel is the burgeoning romance between their characters, Guy and Eep, much to the brutish chagrin of Eep’s father Grug (really Cage at his finest). Then along comes the Bettermans, and then it changes into a movie that is constantly showing the differences between the two families in many funny ways.

I’ve long admired Emma Stone as an actress, since she’s no naturally funny, and that’s even more apparent by how much she brings to Eep with merely her voice. Some of the scenes between her and Tran’s Dawn are absolutely hilarious. Cloris Leachman’s Gran also has some absolutely LOL moments later in the film. In some ways, Reynolds while funny, especially when pit against Cage and Dinklage’s characters, takes a back seat to the ladies.

I was equally impressed with the film in terms of its animation and how gorgeous and colorful the whole thing is, but more than that, it thrusts in a zaniness that I’d usually expect from something like Ren and Stimpy or SpongeBob SquarePants. So as much as it’s a kid movie, there’s enough to entertain older kids and even old men like me.

Without having seen Pixar’s Soul yet (this weekend!), Croods: A New Age may be one of the most entertaining animated movies I’ve seen this year, and that’s because it leans so heavily on being so absolutely crazy and zany that you can’t help but have fun.

You can read more about the movie and how it was made in a feature I wrote for Below the Line.

Next up is MA RAINEY’s BLACK BOTTOM, George C. Wilson’s adaptation of the 1982 August Wilson play that preceded Fences, which Netflix will give a theatrical release this week before it goes to streaming in December. Like Fences, this once again stars that film’s Oscar winner, Viola Davis, in the title role of Ma Rainey, a legendary blues and jazz singer in the late ‘20s who has come to a recording studio in Chicago to make a record with her band.  The band’s hotshot trumpet player Levee (the late Chadwick Boseman) is more interested in breaking out on his own, and he does everything to grandstand and try to impress the label guy (Jonny Coyne) even if it means throwing the rest of the band under the bus.

Since I never saw Wilson’s play, I really didn’t know what to expect from this movie, although the fact that most of it takes place in a recording studio definitely had my interest piqued. In case, you’re wondering about that odd title, it’s actually a song in Ma Rainey’s repertoire that she wants to do one way, but her manager Irvin (Jeremy Shamos) wants to try Levee’s version of the song. Ma’s not having any of it, and a lot of the film involves her

There’s been quite a lot of chatter about Chadwick Boseman getting a posthumous Oscar nomination for his performance in this, and it’s probably well-deserved since he gives quite a showy performance as Levee, giving a couple moving monologues including one about his mother being sexually assaulted by white men.  It’s a very powerful performance indeed.

Rainey is certainly an interesting character for Viola Davis to play, even if she’s not necessarily likable with her obstinate demeanor and the way she gloms over her eye candy Dussie Mae, played by Taylour Paige, and dotes over her nephew Sylvester (Dusan Brown). As interesting as those relationships are, I probably enjoyed the interaction between the musicians more, because Boseman is working with some greats like Colman Domingo, Michael Potts and Glynn Turman. It’s actually kind of interesting how it switches between Levee and the musicians and Ma dealing with Irving upstairs.  

As much as the Wilsons are exploring some interesting topics about race and the treatment of black people in the times, the movie frequently feels dated and it feels like some of the ideas are never fully revolved, even as it builds up to a fairly shocking climax.

I wasn’t really sure what to expect from Ma Rainey’s Black Bottom, but it’s a perfectly fine dramatic piece, but I didn’t feel that it had the weight of other movies about race I’ve seen, including yes, Green Book (sorry, haters), and a lot of that probably has more to do with George Wilson’s direction than August Wilson’s writing.

Just want to quickly mention a couple movies I’ve already reviewed, which will hit the streamers this week, including Steve McQueen’s LOVERS ROCK on Amazon Prime Video, which I wrote about here, and Ron Howard’s HILLBILLY ELEGY, now on Netflix after a short theatrical release. I reviewed the latter here.

I’ve actually seen Lovers Rock a second time since the New York Film Festival, and I enjoyed it even more, as it’s really a well-crafted film even if it’s not as immediate maybe as Mangrove (now on Amazon Prime) and Red, White and Blue, which will be on Prime Video on December 4. I just love how Steve McQueen created a shorter piece that isn’t quite as deep as some of the others since Lovers Rock isn’t based on history but is just a nice young romance about two young people who meet and fall in love at a “Blues Night” party. It’s not as deep as the other movies I’ve seen, but is still good. Oh, and my interview with Steve McQueen is up at Below the Line finally, and I’m pretty proud of it, so check it out!

I don’t know if I have too much more to say about Hillbilly Elegy, but I hope people will give it a chance because even if it does have problems and isn’t perfect, it’s an interesting story, particularly for Glenn Close’s performance.

This week’s “Featured Flick” is Alex Winter’s doc, ZAPPA (Magnolia Pictures), an amazing film that takes a look at the life and career of the late Frank Zappa, best known for his quirky rock tunes but just at proficient at writing jazz and classical musical. I definitely went through a bit of a Zappa phase in my teens, and every once in a while, I would go back and see what had been released since his death in 1993, because his wife and widow Gail did a great job getting a lot of his unreleased music and live shows out there.

What shocked me when I saw Zappa was how little I really knew about the musician, because maybe he was a little bit of an enigma while he was still alive. I enjoyed the other doc, Eat That Question: Zappa In His Own Words, that came out a few years back, which was made up of public interviews Zappa gave, but it doesn’t really give as clear a picture of the man as Winter’s doc does.

For instance, Winter gets a lot of the musicians, including the amazing Ruth Underwood, who played with Zappa in the Mothers. You’d assume those musicians would presumably know the man best having toured with him for years, and yet, even they say that other than when they were rehearsing diligently or playing gigs, Zappa kept to himself. We also get a good sense of what a family man he was, since Winter was able to get Gail to talk to him before she herself passed way in 2015.

Zappa is an absolutely terrific doc that I hope music enthusiasts give a look even if they think they know what Zappa was about or maybe even those who didn’t care for his music. You might be pleasantly surprised by the tremendous amount of depth Winter brings to this talented musician and composer who still had a lot more to say. (And that’s an understatement!)

Incidentally, I’ll have an interview with Winter over at Below the Line very soon.

On the other end of the musical spectrum (more or less) is Gabriel Range’s STARDUST (IFC Films)  -- not to be confused with Matthew Vaughn’s far better Stardust – this one starring Johnny Flynn, who played a young Albert Einstein in Genius: Einstein, this time playing a young David Bowie. Years before breaking it big with his album Ziggy Stardust and the Spiders from Mars, young David just can’t catch a break in the U.S., so he goes on a road trip in 1971 with his Ron Oberman (Marc Maron), the A&R guy from his U.S. label who hopes to get Bowie across to young American audiences.

I’m not quite sure how someone can screw up a movie about Bowie, one of my all-time favorite artists, but making a movie that a.) takes place in the most boring era of Bowie’s career and b.) Not actually being able to use any of Bowie’s beloved tracks, certainly doesn’t help matters. It also doesn’t help that the script just isn’t great, creating a fairly dull biopic that relies more on Maron’s personality basically playing the same character we’ve seen him play so many times before to stay even halfway entertaining.  I couldn’t even get excited by Jena Malone, an actress I generally appreciate, as David’s wife Angie, because she plays her to be such a despicable and unsympathetic character.

If Maron is decent than Johnny Flynn is just plain flaccid as Bowie, playing him so mopey and aloof that when he finally emerges from his chrysalis as Ziggy Stardust – also with little of the flamboyance in his stage shows -- you just don’t give a rat’s ass anymore. Oh, and a lot of the movie is based on the theory that the history of mental issues in his family is what haunts the singer.  Drab and dull, Stardust manages to make the most exciting rock star of the last half century seem like the most boring person on earth. It’s a flat-out failure as a biopic.

Joan Carr-Wiggins’ GETTING TO KNOW YOU (Gravitas Ventures) is a witty Canadian high-concept rom-com, starring Natasha Little and Rupert Penry-Jones as two strangers who have a chance encounter at a hotel in Northern Ontario. The latter plays New Yorker Luke Manning, who is back home for his high school reunion, but when his positively smashed high school girlfriend Kaila (Rachel Blanchard from Peepshow) shows up at the hotel hoping to rekindle their spark, he asks Little’s character Abby to pretend to be his wife.

I don’t have a lot to say about this movie which was a nice surprise and clearly a labor of love for the filmmaker. Honestly, my favorite part of the movie is how hilarious Rachel Blanchard is in it. I’m not sure what’s wrong with me that found her deliriously drunk nightmare of an ex to be kind of sexy, but maybe that’s just me. In fact, the movie might have been even funnier if the rest of the cast were able to keep up with Blanchard, but the connection between the two leads did grow on me as it went along. It definitely has some funnier moments like when Kaila’s bowling husband Kenny shows up, and then some of Luke’s other classmates pop in as well, but it does have to work very hard whenever Blanchard isn’t on screen.  (I also enjoyed watching the soap opera that seemed to be going on between the employees of the hotel, which was perpetually funny.) Otherwise, it does feel a little flat whenever Blanchard is on screen.

The filmmaker’s lack of experience is sometimes obvious, because there are things like the repetitive music that I wasn’t so crazy about. Otherwise, this is a light and quaint indie that’s a little off the beaten track, but you won’t have any regrets if you make the effort to go looking for it.

I’m thrilled to see actor Clea Duvall back behind the camera for her second film as a director, HAPPIEST SEASON, which was going to get a theatrical release through Sony’s TriStar Pictures at one point. Instead, it’s now going to be on Hulu starting Wednesday. (Today!) It’s a high-concept rom-com starring Mackenzie Davis and Kristen Stewart with Davis playing Harper, a woman who has not come out of her closet to her family, which makes it that much more awkward when she brings her girlfriend Abby (Stewart) home for the holidays.

As mentioned, this is a fairly high-concept comedy that uses the idea of someone coming out to their disapproving family we’ve seen in many movies, but does it in a way that can take it seriously but still allow for some funny moments. In fact, there are times when the comedy even goes into Meet the Parents territory in terms of the character humor.

I really enjoyed Duvall’s previous film, The Intervention, and once again, she has put together such as great cast to realize the script that she wrote with Mary Holland. In fact, Holland has a great role, playing Harper’s bubbly sister Jane, who steals so many scenes in terms of the humor that I was shocked that I only realized later she co-wrote the script with Duvall.

Mackenzie Davis continues to be every director’s secret weapon, because like in Jason Reitman’s Tully, she can literally deliver on every aspect of the movie, keeping the comedy aspects grounded but also deliver a really poignant performance. She also works really well with Kristen Stewart, maybe bringing out things in Stewart we just haven’t been able to see before.

Besides having Alison Brie play Harper’s older sister and Aubrey Plaza as an old flame, Duvall also had the foresight to get the amazing Dan Levy, recent multi-Emmy winner for Schitt’s Creek, to play Abby’s best friend, who is constantly there for her to kvetch and who shows up to pretend to be her boyfriend. (Oddly, there’s a lot of that sort of thing going on in movies this week.)

Happiest Season works as a perfectly fine albeit fairly traditional holiday rom-com in a similar way as The Family Stone. More than anything, Duvall continually proves her abilities as a filmmaker that can handle comedy and drama equally well.

Next up, is Alan Ball’s UNCLE FRANK (Amazon), the Oscar-winning writer of American Beauty, directing only his second movie after 2007’s Towelhead – you might remember his HBO shows Six Feet Under and True Blood. This one, set in the ‘70s, stars Paul Bettany as the title character with Sophia Lillis from It Chapter One and Two playing his niece Beth, a teen from Creekville, South Carolina who worships her New York-based professor uncle. When she goes to college in New York, she attends one of Frank’s parties with her pseudo-boyfriend and ends up learning that Frank’s “roommate” Wally (Peter Macdissi) is actually his boyfriend. When Frank and Beth return to South Carolina for his father’s funeral, he has to try to keep his sexuality and relationship with Wally a secret from his family. Yeah, this does sound a little like Happiest Season, doesn’t it? It is, but only to a point.

At first, Uncle Frank is a cute but not-particularly-deep coming-of-age story about Lillis’ character as a fish out of water in New York City. Once Wally is introduced, he seems to be there just to make jokes and lighten the mood as it turns into a road trip. From his previous work, I’ve grown to enjoy Ball’s unconventional storytelling, but by comparison, this movie is very by-the-books, so it never really grabs the viewer.

The biggest problem with Ball’s latest--and it’s one that I see in a lot of movies these days--is that it doesn’t know whether it should be a comedy or a drama, and because it isn’t particularly funny, you expect it to fare better as a drama and yet, it doesn’t.

Ball has such a great cast including Judy Greer, Margo Martindale, Stevens Root and Zahn, all playing the duo’s racist Southern family, but they disappear for long sections of the movie, and then don’t do much when they return for the more dramatic last act where it turns into such a maudlin melodrama once Frank and Beth get back to South Carolina.  As they mourn the dead patriarch, Frank keeps reflecting back on what drove him to New York in the first place, and we’re pummelled with so many flashbacks. Lillis’ character almost gets lost at this point, even this story is supposed to be told from her point of view.

Essentially, Uncle Frank falls somewhere quite literally between Hillbilly Elegy and Happiest Season but not being as good as either. It’s just disappointing that Ball didn’t have someone offering good advice on handling material that will constantly have you groaning, “What was the point?”

Screenwriter Matthew Michael Carnahan (The Kingdom, State of Play, 21 Bridges makes his directorial debut with MOSUL, which will debut on Netflix this Thursday. As you can figure out from the title, this takes place in Iraq in the fall of 2016 where an army of 100,000 Iraqi soldiers and militia men mobilize to liberate Iraq’s second largest city from ISIS along with the embedded journalist Ali Maula. Surprise, surprise, this is another movie from last year’s September festival season, too, and there also was a documentary from last year with the same name about the same story, too.

I’ve been a fan of some of the films Carnahan has written over the years, some mentioned above, but his directorial debut certainly sounds ambitious, since he’s working with an all-Arab cast. I look forward to watching and reviewing this one, hopefully before Friday.

Premiering on Disney+ this Friday after losing its theatrical release – this is becoming the norm for Disney, huh? – is Ashley Avis’ adaptation of Anna Sewell’s classic piece of literature, BLACK BEAUTY about a girl and her horse. The girl is played by Mackenzie Foy from Interstellar and The Conjuring, and Black Beauty the horse is voiced by Oscar-winning actress Kate Winslet. No, I did not make that up, and I can’t wait to watch this, to see how that works exactly. Look for my review later this week… hopefully.

On top of that, those Trixie Pixies at Disney+ have somehow managed to secretly pull together a Taylor Swift concert called folkore: the long pond studio sessions, which will premiere exclusively on Disney+ November 25. Oh, that’s today!

Debuting on Showtime this Sunday is Errol Morris’ new doc MY PSYCHEDELIC LOVE STORY, which takes a look at the Acid King Timothy Leary through the eyes of his lover, Joanna Harcourt-Smith, trying to figure out her part in his turn into a narc for the CIA. Another one I hope to get to soon because while I like Morris’ political films like The Fog of War and even the Steve Bannon doc American Dharma, this seems more in the vein of Tabloid, which I also enjoyed. Will try to watch this over the weekend and report back.

Also of note is that the doc She is the Ocean (Blue Fox Entertainment) will be hitting On Demand this week. I guess I never got around to reviewing it.

So, let’s see. We’ve had some good movies, we’ve had some not great movies, and we’ve had a few movies that I just didn’t get around to watching yet. What does that leave? How about two of the worst movies I’ve seen this year? Are you ready?

SUPERINTELLIGENCE (HBO Max) is the latest comedy from Melissa McCarthy and hubby director Ben Falcone, and boy, it won’t take you long to realize why New Line decided LONG before COVID not to give it a theatrical release, instead handing it over to its new streamer HBO Max. 

In this, McCarthy plays Carol Peters, an average Seattle woman, who – I mean, honestly, does it even matter what she does? It’s irrelevant. Carol encounters an artificial intelligence being with the voice of James Corden that has just achieved self-awareness and wants to study Carol in order to understand humanity. But what are its plans… to save humanity or destroy it? Only Carol has the power to keep the world from finding out. 

I honestly don’t even know where to begin except that I was a Melissa McCarthy stan for a long time before Bridesmaids;  Superintelligence makes it all-too-obvious that she needs to stop making movies with Falcone. It’s not that he’s an incapable director, but he just doesn’t give her the actual direction she needs. The movie is just all over the place, starting with the physical comedy McCarthy has done so much in her movies, but then turning into a romantic comedy as the AI tries to reunite Carol with her college boyfriend George, played by Bobby Cannavale. Apparently, making The Heat with Sandra Bullock has made Falcone think his wife could or should be Sandra Bullock. No, she can’t. Throwing her into a ridiculous concept like this one that isn’t very solid does little to endear McCarthy to the fans she keeps driving away with bad movies like this.

I’m sure it doesn’t help that I really hate James Corden and hearing his voice over the course of the movie while also acting very META by referencing the ACTUAL James Corden, Carpool Karaoke, etc. Just none of it is very funny. Oddly, this is written by the same guy who wrote the duo’s earlier movie, The Boss, which I didn’t think was that bad, but mainly because McCarthy was paired with Kristen Bell for a lot of the movie.

On top of that, Superintelligence wastes its entire supporting cast from Brian Tyree Henry to Sam Richardson (from Veep) but also has Karan Son from Deadpool playing the EXACT SAME CHARACTER he played in Like A Boss, but only for a few minutes then he’s gone. At least it had the forethought to cast Jean Smart as the President, but the fact that I didn’t even like Bobby Cannavale in this might be the biggest sign of how much I absolutely detested Superintelligence.

There are movies you might hate when you see them in theaters but later realize that they’re probably funny enough cable. That is Superintelligence, except for the funny part. What else can I say except that “Superintelligence” is not a term I'd use for whoever greenlit this piece of crap.

Also debuting on HBO Max this week is the new thriller series The Flight Attendant (HBO MAX), starring Kaley Cuoco, who really hasn’t been doing much outside The Big Bang Theory, so this should give her a chance to show how funny she is. She plays a woman who wakes up in the wrong hotel and wrong bed with a dead man, so it already sounds like a great premise right there. I guess the entire first season will debut on Thanksgiving.

And yet, believe it or not, Superintelligence isn’t even the worst movie of the week! Nope.

Apparently, Josh Duhamel’s new comedy, BUDDY GAMES (Saban Films/Paramount), played in some theaters over the weekend, but it’s now available on digital and On Demand. It’s Duhamel’s directorial debut, and it’s about as dude-bro as you can possibly get, as it has Duhamel, Dax Sheppard, Kevin Dillon, Nick Swardson, Jensen Ackles and Dan Bakkedahl as a group man-children friends who regroup five years after going their separate ways to bring back their “Buddy Games,” a series of obstacle and endurance tests that end up reviving ill feelings between a few of them.

I’m not sure how quickly I knew I was in trouble with this one, because at first, I thought that maybe Duhamel made a fun indie comedy about friendship ala the underrated A Good Old Fashioned Orgy. It didn’t take me long to realize that I was wrong as wrong could be, since by the halfway point it turned into something as innately immature as Jackass.

The general idea is that Duhamel plays Bob, the guy who found enormous success after splitting from his friends, marrying Olivia Munn’s Tiffany, but then he finds out that his old friend Shelly (Bakkedahl) has been put in rehab for a drug overdose. Turns out that at the last Buddy Game, Swardson’s character shot Shelly in the nuts with a BB gun, and he eventually lost his other testicle as well. That’s about the level of this low-brow comedy that rarely fails to grab the lowest hanging…um… fruit.

As it goes along, it just gets worse and worse to the point where there was one scene where the guys are at a bar while trying to get girls to buy them drinks that just got so disgusting, I almost turned it off. If I did, I would have missed the scene with a gila monster going after steaks strapped to the heads in another lame competition.

I can go on and on about how Buddy Games is but probably the worst infraction is that it does the most sexist thing possible by basically putting having women for a few moments and none that particularly advance anything.

Duhamel isn’t a bad director, and I wouldn’t be surprised if he got hired to direct another comedy someday soon, but this movie just very bad, very gross and almost excruciating to sit through at times. To call Buddy Games moronic, idiotic or even asinine, would be an insult to the morons, idiots or asses, who are likely to be the movie’s target audience.

On Friday, New York’s Metrograph is bringing back the 2017 4k restoration of Fruit Chan’s Made in Hong Kong as a ticketed screening running from Friday through December 3. You can also still catch Shalini Kantaya’s Coded Bias and the French New Wave anthology Six In Paris as ticketed screenings through December 3.

Up at New York’s Lincoln Center, you can catch its World of Wong Kar Wai with a couple films available this Wednesday, including his fantastic drama In the Mood for Love, but you can also get the 7-film Janus Bundle for $70 which is a saving over the individual movie cost of $12 apiece. Those seven films and five more will be shown over the course of December.

Other stuff out this week that I wasn’t able to get to include:

The Christmas Chronicles 2 (Netflix) Last Call (K Street Pictures) Faith (Vertical) Saul and Ruby’s Holocaust Survivor Band (Samuel Goldwyn) The Walrus and the Whistle Blower (Gravitas Ventures) Life in a Year (Amazon Prime) 32 Weeks

Have a great Thanksgiving, everyone!

By the way, if you read this week’s column and have bothered to read this far down, feel free to drop me some thoughts at Edward dot Douglas at Gmail dot Com or drop me a note or tweet on Twitter. I love hearing from readers … honest!