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The Princess Switch – Film Review

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What can I say about The Princess Switch other than it is the holiday cheese that you need? If I were to embody this film physically, I would create it just like this:

And really, would you want it any other way? The Princess Switch is the comfort food of the holiday season – you know it’s a little bit bad for you, but it’s a tradition and you’re going to go for it anyway, all while enjoying yourself immensely.  There are no surprises coming for you here – the plot is so obvious, it could be seen from space. But heck it’s not Halloween, and we’re not looking for jump scares. We’re looking for time to cozy up by the fire and return a few texts while we zone out and momentarily retreat from the stress of Christmas shopping. And on that, this flick delivers in spades.

Vanessa Hudgens is the real treat here – she is more than game to embrace the implausibility of this story, and she plays both freewheeling commoner Stacy and uptight duchess Margaret with equal aplomb. Yes, it is all ridiculous. But you won’t be able to stop yourself from grinning ear to ear, so queue it up and give in. You’ll be glad you did! My full review is available here at MovieBoozer, so check it out. xo

Nobody’s Fool – Film Review

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Like most, I have to acknowledge a complicated relationship with Tyler Perry. On the one hand, the majority of his offerings veer from bad to downright terrible. (As I’ve mentioned, it’s no secret that the plot of Temptation: Confessions of a Marriage Counselor can send me into a frothing rage to this day. It may as well have been called I’m a Misogynist & I Despise Women Who Enjoy Sex.)

Then there’s the other side of the Perry coin – the one that recognizes what an incredibly hard worker he is, as well as being an auteur who strives to employ black actors, as well as providing numerous opportunities behind the scenes as well. It’s a mishmash of respect and cringeworthy WTF.

Basing my opinion strictly as a film critic, I found Nobody’s Fool to be one of Perry’s more enjoyable and mainstream offerings. It’s still flawed – his conflicting views about sex are still on display, most notably in one of the more awkward scenes I’ve seen committed to celluloid. But it’s still fun overall, thanks in large part to his leading ladies, Tiffany Haddish and Tika Sumpter. Instead of putting the women in a corner, he allows them to do the heavy lifting, elevating an otherwise mediocre offering. I’ve got more to say, and you can read my full review at MovieBoozer now! xo

A Star Is Born – A Tale of Two Tropes

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A Star Is Born is nothing new – in fact, this is the fourth remake of the classic story of one talent on the rise as the other slowly fades away. There’s a lot to love about Bradley Cooper’s version – chiefly the brilliance of casting Stefani Joanne Angelina Germanotta as his love interest, Ally. Who’s that? Oh, yes – that would be Lady Gaga herself and man, is she ready for her closeup or what?

Given that the plot was already handed over on a silver platter, I feel Cooper really did put his stamp on it in a unique way. However, there are two tropes that veered from refreshing to sexist. Let me tell you how.

First, the refreshing– the fact that Jackson Maine (Cooper, who’s also the director and co-screenwriter), the sexy, established superstar, is completely, totally, and truly in love with Ally from the moment he first lays eyes on her. Sure, he’s also a full-tilt ageing drunk, but there’s no denying his charisma. And here’s what is so refreshing about his attraction to Ally:  despite being on the road (and/or totally wasted) for the majority of their relationship, he never cheats. In fact, it’s never even brought up as an option. There is no temptation, because once Ally comes into his line of vision, other women cease to exist for him. This was welcome, as it’s obviously a common assumption that rock stars are going to fool around. It was a wise choice on Cooper’s part to skip this, because honestly there wasn’t time. So much of the storyline hinges on their undying love that it would’ve really detracted from the overall vibe if Ally had had to spend time forgiving him for a physical transgression, especially when the emotional one (his all-consuming alcohol addiction) took everything they both had (and then some).

And now, the sexist– Ally, who we see at the beginning of the film performing a cabaret act in a drag bar – has never sung in a large arena, prior to meeting Jackson. And when she’s drug into his performance, it’s with a full-on country band where she immediately excels. So, it was weird to see her morph into a Britney Spears-type performer, complete with gyrating dance choreography. Why couldn’t she continue as the country singer/songwriter she was more comfortable being? It definitely felt like a double standard that Ally had to add dance moves to her repertoire when Jackson was allowed to get away with swaying and stomping to his guitar solos. (Women can, in fact, put on concerts without the booty popping. For example, Miranda Lambert doesn’t have to dance during her concerts. She saves that energy for stealing men! Heyo!) To be fair, this is Ally’s manager’s vision, not Jackson’s – but it is also Cooper’s, since he helped pen the script. It felt like a jarring departure, and I’m not sure why it played out that way. Yes, it’s a device to inadvertently drive a wedge between Jackson and Ally – but that still could’ve easily been accomplished if they’d remained in the same genre. In fact, even more so. How much more would it have resonated if she’d beat him at his own game?

Also, a random WTF note– Initially, I thought I spied a Confederate flag flying in the crowd during the opening scene of Jackson’s raucous outdoor concert. And, needless to say, I was totally in shock. As a director, I couldn’t believe Cooper would let that horrific image mar the screen. And, as a performer, I couldn’t imagine that Jackson wouldn’t stop the show and tell that person to get the fuck out, no matter how drunk and/or caught up in his own hubris he may be. (Also, what an insult to country fans. Yes, there’s a stereotype that does exist, but not everyone who enjoys that type of music is racist.)

Do I spy, with my little eye…

Happily, that is not the case– for many, many reasons! After some research, I learned that part of the concert footage was filmed at the Glastonbury Festival in England. So, what I thought was the Confederate flag is actually the Flag of the United Kingdom. (Sorry for the mistake, England!) In short, we can all breathe a sigh of relief! (Meanwhile, the Arizona flag in the scene was a plant by production for some added authenticity – in fact, none of the movie was filmed in AZ, despite numerous mentions that it’s Maine’s home state.)

There are a few flaws, and this current ASIB isn’t going to redefine the original. But it still shines brightly and is definitely worth a trip to the cinema… and, perhaps, the Oscars.

Leave No Trace – A Rebuttal

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[This rant contains spoilers.]

Sometimes I see a movie and I just can’t keep my mouth shut. Such is the case with Leave No Trace– the gorgeous, quiet film by Debra Granik (based on the novel My Abandonment by Peter Rock). It debuted to rave reviews and is Granik’s follow-up to the Oscar-nominated Winter’s Bone.

I was excited to see this film – the lush scenery of the local Portland parks called to me, and I was curious how my hometown was going to represent. As expected, the cinematography is stunning, and I was suitably embarrassed that such riches exist in my backyard that I have yet to take full advantage of. No wonder everyone is moving to Oregon – it’s freaking awesome! However, despite the stellar reviews, I had a deep problem with the movie – so much so that I was compelled to pen a rebuttal. Below are my thoughts.

The plot revolves closely around the unshakeable father/daughter bond of Will (Ben Foster) and Tom (Thomasin McKenzie), who live off the grid in Forest Park. Will, a war veteran who suffers from PTSD, cannot stand much human contact, and has raised Tom the only way he knows how – completely alone. (Tom’s mother is briefly alluded to – she’s passed away, but it is not mentioned how.) The movie opens in near silence as we watch the duo seamlessly do chores around their tiny campsite, making their connection clear from the outset.

Amazingly Tom never complains – she’s down to live completely isolated with very few comforts. (A square of chocolate is a big deal in her world.) Even when they make the trek to Portland, she doesn’t seem turned by civilization and willingly goes back to her tent at the end of the day. Obviously, this is the life she’s familiar with, but it is remarkable because we are also talking about a 13-year old girl. Think about that for a moment. I remember completely falling apart when I was separated from my Walkman for a few hours, which I’d declared my “best friend.” (Yes, I just said, “Walkman.” And yes, I’m old.) Of course, I was raised in the suburbs with a completely different set of expectations, but there’s a part of me that thinks people are people – and there are certain things young women want. (Not a Walkman, but a burgeoning connection to their peers, in one way or another.) Also, am I the only weirdo who was thinking about Tom’s rapidly approaching (if not already arrived) period? Was her dad going to force her to use moss as a tampon? Surprisingly the plot did not touch on this – but it would’ve if I was in charge!

Along the way, there are glimpses that Tom has begun to long for more. There’s a small, touching scene when she finds a simple necklace (a silver seahorse on a black cord) on a trail and asks Will, “Can I keep it if it’s still here when we get back?” He agrees, and she tries to bury it under some bark. He catches her and makes her leave it out in plain sight. It’s a moment that highlights their honesty and commitment to simple living, but it’s also a glimmer into the desire for material possessions. She has so little, and she just wants this one thing – the longing is stark. (Happily, the necklace is later shown around her neck. Girlfriend deserves some bling!)

When Will and Tom finally get caught and are forced to leave the park, they luck into a plush housing situation, thanks to a dedicated case worker and the kindness of a stranger who’s willing to provide them a home in exchange for labor on his Christmas Tree farm. The house is lovely and spacious, but for Will it might as well be a straitjacket. His misery is palpable as he sits on the edge of his bed – what should be a relief is clearly worse for him than his tent. However, this is where Tom begins to blossom –she’s exposed to societal norms for the first time, and she likes it.

Needless to say, this situation doesn’t last long, with Will forcing them to leave in the middle of the night. And this is where I began to get seriously irritated with Will. He has the right the raise his child in (virtually) any way he sees fit, and this is also in no way meant to make light of PTSD. (My father fought in the Vietnam War and I take the sacrifices veterans make very seriously.) That said, I wanted scream at the screen, “Buck up, dude!” (Ah, eloquence.) For Will, despite his serious disorder, still seemed capable of functioning fully as a parent. There’s no doubt our society is fucked up and that the never-ending pursuit of money has absolutely made this world a compromised place. I get not wanting to take part in that, if one is able. But here’s the thing – you have a child, and that child should come first. Will, in many ways, refuses to make that sacrifice.

After leaving the work-for-shelter setup, things continually spiral into danger. They’re constantly on the move, with winter rapidly approaching. After a near disaster, where Will nearly loses his life, they find solace in a trailer park deep in the woods, hosted by another kind stranger. This is the perfect compromise – Will is surrounded by nature, while Tom has access to shelter and the comforts of societal interaction. (The other members of the park meet each evening for potlucks and music by a shared campfire.) And yet… it’s still not remote enough for Will. He wants to move on, yet again.

This is where Tom finally puts her foot down, essentially becoming the parent. This lifestyle is not appropriate for a child, and she can no longer continue to cleave to her father’s selfish tendencies. For, let’s be honest, that’s what this is. Pure, unadulterated selfishness. Again, I’m not here to make light of PTSD. But there is help for that disorder – specifically in EMDR therapy, derived solely to relieve patients of anxiety. But Will doesn’t seek that out – or any help at all. Instead he continues to expect Tom to live the way he wishes, despite how unfair it is to her.

Worst of all, he leaves her! Yes, he leaves his 13-year old daughter behind at a trailer park full of relatively unknown people because he simply cannot be a part of any kind of group at all – not even one as benign as this sweet band of recluses. And that really pissed me off. (Yes, I know it’s a movie. I’m not going to Dan Quayle vs. Murphy Brown you. What in the hell is that reference? More proof that I’m old!) To find no relief in the minimal shelter in the woods and, much worse, to make no effort to even try to embrace the compromise for Tom made me hate Will.

At the end, they walk into the woods together one last time, exchange a tearful hug, and then head in opposite directions (literally and figuratively). Hello! This is your CHILD. This is not some girlfriend who you’ve reached the end of the road with, emotionally. This is your offspring that you have a responsibility to protect, above and beyond yourself. Will thinks he’s bucked the system, but really he’s embraced it as much as any capitalist. He refuses to see beyond his own white male entitlement, and there’s no escape from that, no matter how far you hike.

Goosebumps 2: Haunted Halloween – Film Review

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When the monthly lottery came around at MovieBoozer, I thought for sure I’d put myself up to review the revamped Halloween, with Jaimie Lee Curtis reprising her role as the beleaguered Laurie Strode. Who doesn’t want to see Laurie kick that pesky Michael Myer’s ass? But then I watched the trailer and something felt… off. As excited as I was, I couldn’t shake the darkness of the plot. Obviously it’s not going to be sunshine and daisies, but I found myself unable to embrace the thought of heading into the theater with my notebook to jot down my thoughts on the kills. But I was also didn’t want to skip an opportunity to write for a website I dearly love. I am deadline-driven and need assignments to thrive. What was I going to do?

Then I watched the trailer for Goosebumps 2: Haunted Halloween (a flick that was not even remotely on my radar) and something unexpected happened – I actually wanted to see the damn thing. The cleverness of bringing Halloween to life, costumes and all, looked like too much fun to miss. And that’s when it struck me – I wanted the perks of the spookiest holiday, without having to embrace the nightmares. Sometimes it’s okay not to go all in. With far too many scares happening in the real world, I was more than happy to kick back with Fright Lite ™  and it turned out to be the perfect compromise. It’s definitely not for everyone – I was one of the few child-free audience members in the mix. But if you’re craving something that’s not too taxing that will still signal your brain that fall’s favorite holiday is nearing, Goosebumps 2 could be for you. Read the surprising amount of words I have to say about it in my full film review, available at MovieBoozer now!

Juliet, Naked – A Film Review

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There’s been a dearth of rom-coms of late (save the fantastic summer blockbuster, Crazy Rich Asians) – it’s almost as if the genre has been as waylaid as the demographic it (mainly) represents. (You don’t have to look far to see what’s happening to women in the news these days.) So it was with great pleasure that I jumped at the chance when Juliet, Naked finally came to town. The film stars the gorgeous Rose Byrne, along with Ethan Hawke (yep, Gen X-ers, Hawke plays a grandpa in this flick!) and the ever-hilarious Chris O’Dowd – a buzzworthy middle-aged haven. (It turns out old people like to fall in love too. Who knew!) There are few plot surprises, given the trope – but that’s exactly what is supposed to happen. Romantic comedies are the comfort food of films – you don’t need the unpleasant surprise of ground glass in your cookie. You just want to enjoy the damn cookie. And Juliet, Naked let’s you have the whole bag, guilt-free. Perfect for a solo watch or date night. Read my full review, available at MovieBoozer now. xo

A Simple Favor – Film Review

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Martinis, mystery, and… murder? Yep, A Simple Favor has it all and it is good. One thing to remember when viewing this movie – going beyond the usual suspension of disbelief and fully embracing the schmaltz will get you far in fully enjoying this offering. It doesn’t take itself too seriously – and neither should you. I found it to be miles beyond Gone Girl in watchability – the fact that director Paul Feig is at the helm with his noted razor-sharp wit surely helped. And the casting is just beyond – Anna Kendrick embraces the simpering and seething of uptight housewife Stephanie Smothers, and Blake Lively is on fire as the sociopathic Emily Nelson. Don’t forget the beyond handsome Henry Golding as Emily’s husband, Sean Townshend. Henry absolutely crushed it as the lead in the summer blockbuster Crazy Rich Asians and his second starring role proves that was no fluke – Golding has gone from new screen crush to bonafide star in record time.

Check out my full (spoiler-free) film review at MovieBoozer and let me know what you think – I welcome your thoughts, comments, arguments, and more! xo

Jurassic World: Fallen Kingdom – I Reviewed This Juggernaut So You Don’t Have To!

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You don’t need me to tell you whether or not to see this mega-blockbuster – chances are you’re going to, no matter what the critics say. And I applaud that! You should enjoy this summer schlock – that’s what it’s meant for, and honestly it’s a rather delightful offering if approached with the right attitude. So slip some booze in your bra, mortgage your house for some movie popcorn, and go have some well-deserved fun at the theater! (But if you want to know what you’re getting into, my MovieBoozer review is here for you!)

Tully Has A Twist That Hobbles Its Message

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It’s almost like Diablo Cody can’t help herself. The talented screenwriter has so many clever ideas that she’s just gotta stuff ’em all in there, even if the film would actually flourish with less interference. It was the case with her breakout project, Juno, and it’s the case now with her latest effort Tully (her third movie with director Jason Reitman). Tully initially soars, with an outstanding performance by Charlize Theron that’s a meditation on modern motherhood and the dangers of depression. I was all in until the the third act, which goes seriously off the rails with an unneeded twist. Damn it, girl – you were almost there! I hope Diablo finds the strength to lay off the tricks because she’s got a strong voice hiding under the gimmicks, dying to come out. More on my review at MovieBoozer here. xo

Big. Ass. Spider!

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It’s crazy to call a movie named Big Ass Spider! a delight, but that’s exactly what this flick is – an all out silly good time, and a cast with chemistry to spare. Yes, of course it’s ludicrous – and that’s half the fun. Plus with the lean run time, you can’t afford not to watch it! Check out my review on Cinapse here – 200 words of raw movie critic firepower. Woot!