Minisode 038: Crazy, Stupid, Love.

In February we tasked our Patrons with choosing a romantic comedy for us to talk about in honor of Valentine’s Day and by a runaway vote, Crazy, Stupid, Love came out on top. We weren’t surprised, but we are thrilled because this resulted in one of our best conversations yet. We hope you enjoy the discussion!

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MOVIE REVIEW: Suburbicon

Suburbicon (2017)


Going In

Written by Joel and Ethan Coen. Directed by George Clooney. Starring Matt Damon, Julianne Moore, and Oscar Isaac. The truth is that I didn’t even need to know the plot to become interested in this film. Despite hearing the word “mediocre” thrown around, I find it difficult to believe that this group of supremely talented artists won’t provide an entertaining time at the movies. From the look of its trailers, Suburbicon appears to be mostly dark comedy, and though I greatly prefer the Coens’ strictly dramatic work over their more comedic efforts, every time I see a white-collar Matt Damon losing his mind and taking on organized crime it makes me grin. I’m holding out hope that there is something of substance that will elevate this beyond just satire.


COMING OUT

Suburbicon is wild. The Coens’ signature dark comedic touch is all over this, and its trailers, come to find out, have been a bit of a misdirection. At first glance you’d think the city of Suburbicon was a clone of Pleasantville. It doesn’t take long for that idea to be blown out of the water, though, as we learn that Suburbicon residents are quite fond of their community demographics and not very accepting of change. The surprises come pretty quickly and the setup for the main plot is intriguing. In fact, if this movie had been more of a straight-forward thriller it could have worked well.

Unfortunately, Suburbicon has no idea what kind of film it is. There are two stories taking place at once and they do not coexist well. Cuts between the two result in an odd tonal shift and the satirical nature of main plot doesn’t mesh with what’s going on in the secondary one. If the movie is trying to say something important, it fails at making that clear. Suburbicon does feature moments of genuine humor and that slick Coen Bros. writing that we know and love so well. In particular, the brief time that Oscar Isaac is on screen stands out. His charisma plays perfectly in the role this film calls for. I also rather enjoyed the twists and turns the story takes, and I probably would have responded positively to the ending if it hadn’t been ruined for me by the trailer. Why they chose to show us something in the trailer that would tip us off to the exact ending of the film 15 minutes before it happens is extremely frustrating. Maybe the studio just counts on us all having very bad memories? Regardless, it was a major mistake that negatively affected my viewing and response to the end.

Verdict

The trailer for Suburbicon, sans extra story-line that didn’t fit in, is a tighter film than the finished product. Despite an incredible amount of star power attached to this project, it simply tries to be too many things at once and the result is a frustrating, confused mess. It’s not all bad, and sections of it show flashes of what could have been, but the finished (I use that word loosely) product is just not something worthy of being recommended.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Kingsman: The Golden Circle

Kingsman: The Golden Circle (2017)

Rated: R

 


Going In

In 2015, a new project from director Matthew Vaughn and comic book writer extraordinaire Mark Millar became a surprise theatrical hit, grossing $128 million domestically. As legend has it, Vaughn and Millar were at a bar one day discussing spy movies and decided that the genre had become overly serious. The two decided to make “a fun one”, which ended up being based on one of Millar’s comics, and Kingsman: The Secret Service was born.

In my opinion, Vaughn and Millar succeeded in their attempt to liven up the secret agent movie. I enjoyed Kingsman: The Secret Service (K:TSS) immensely and now have high expectations for its sequel. I’m particularly interested in learning how Colin Firth’s character (code name Galahad) returns and whether or not Julianne Moore’s new villain can reach the eccentric excellence that Samuel L. Jackson provided in the first film. The sequel is also pulling in some big names for what seem to be smaller roles. Will Jeff Bridges, Halle Berry, and Channing Tatum enhance the film or be a distraction? The action will be grand, I have no doubt, and I’m crossing my fingers that the humor will work as well as it did before (vice following the raunchier trend of modern-day Hollywood comedies). Regardless of whether Kingsman: The Golden Circle wows me, I do expect to have a good time at the theater. If it turns out to be special, even better, but that would be enough.

 


COMING OUT

I went, I saw, and… I was let down. Kingsman: The Golden Circle (K:TGS) did not, in fact, turn out to be special. Unfortunately, I didn’t have much of a good time either.

In K:TGS, the Kingsman headquarters has been destroyed and Eggsy must unite with new American allies (The Statesman) in order to once again save the world, this time from a ruthless villain. One of my burning questions for this sequel was whether or not Moore could live up to Jackson and the answer is a resounding “NO.” Despite her fantastic performance as a bubbly psychopath drug lord, the character motivations are selfish and far less interesting than the thought-provoking topic of overpopulation that is explored in K:TSS. There is also an increase in the violent/gory content of the sequel (stemming from her ruthless nature) that I found off-putting and unnecessary. Another of my primary concerns was how the return of Colin Firth’s character of Galahad would be handled. To put it bluntly, it’s a complete joke. I was not the only one to sigh and roll my eyes at the explanation of how he survived the events of the first film, and his reappearance here retroactively lessens the impact of K:TSS.

With regards to those new American spies, it was disappointing how little screen time Channing Tatum was given. He was one of the few bright spots, stole every scene he was in, and yes, he dances. Jeff Bridges and Halle Berry are… fine. All of the American agents other than Pedro Pascal’s Whiskey feel like they’re window dressing or present only to set up bigger roles in a sequel. Oh, and can we talk about those code names? It’s quite obvious that the film is meant to be satire and poke fun at Americans, but whereas the Kingsman mythology is modeled after old knights and tales of honor, the American agency is modeled after liquor tycoons and its agents named after different brands of alcohol. This serves as a perfect example of how K:TGC takes a big step back by being overly silly in its stereotypes. Its numerous attempts at cultural commentary were a big miss for me.

Lastly, I have to address one specific scene that really ruined the movie for me. As mentioned above, my hopes were that the film would not be too crude. In one entirely avoidable moment, Vaughn instead pushed far enough that I will now choose not to let my young teenagers see the movie. And the question I kept asking myself is “why?” There are so many inventive technologies in this series, but when it comes to getting information from a gorgeous blonde that creativity manifests itself in teenage boy fantasy instead. Luckily, this overtly and uncomfortable sexual scene only occurred once, and Vaughn deserves some credit for attempting to fix his mistake with a certain Princess at the end of K:TSS. But even that still falls short and the film lacks any semblance of a strong female character.

To end on a high note, the film does feature one of my favorite scenes of the year. Mark Strong’s Merlin was a highlight in K:TSS and here he provides an emotional center to the film that I was easily able to connect with. This scene will forever change my thoughts when I hear John Denver’s “Take Me Home, Country Roads.” Strong’s performance in this scene (and this series) is exceptional and has inspired me to seek out more of his work.

Verdict

Kingsman: The Golden Circle takes everything about its predecessor and cranks it up to 11. If you didn’t enjoy that film, you definitely won’t like this one either. My expectations were not met, I didn’t enjoy the film, and I’ve lost the desire to see future installments in this series. When Vaughn keeps the focus in Britain and on the Kingsman, it’s great stuff. Too much of this film is an on the nose joke or critique about modern day America, though, and the results are underwhelming.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.