The Museum at FIT
We all know there are professions that are presumptively queer. Take fashion, for instance. It’s so blindingly gay, why even bother talking about it?
A Queer History of Fashion: From the Closet to the Catwalk at New York’s Museum at FIT not only answers that question squarely, it plants a long-overdue flag on queer turf no one has bothered to claim yet, and beats the bushes for meaning in a form of cultural production under-analyzed in terms of Queer Theory, frocks and trou.
From the scandalous 1920s garçonne lesbians who kick-started modernism to the forgotten punk homoerotica of Vivienne Westwood’s World’s End boutique, the exhibition unveils treasures and gives them full context. There is Andre Walker’s Love Ball collage dress, Jenny Shimizu's blistering boyswear, Liz Collins’ flounced Lumberjack Goddess Dress, and a Klaus Nomi Constructivist superhero costume. It even makes a place for ‘70s clone wear and both AIDS and LGBTQ activist T-shirts.
The Museum at FIT
The exhibition also marches right up to any and all queernesses hiding in plain sight and calls them out, literally: it refers to Marlene Dietrich as “the best dressed man in Hollywood,” and freely claims design legends that are never discussed in terms of their sexuality, such as Cristóbal Balenciaga and Christian Dior.
What it lacks in scale it more than makes up for in content, so leave yourself lots of time: there are videos and very rich texts. And students of queer and gender studies should make room on their bookshelves for the catalogue.
Teaming up Tina Fey and Steve Carell stars of 30 Rock and The Office is a tantalizing prospect for fans of NBC’s back-to-back Thursday night sitcoms. But their big-screen collaboration the action comedy Date Night yields surprisingly little of the comic synergy one would expect from such a potent one-two punch.
In fact it probably never could have — at least not with director Shawn Levy (The Pink Panther Night at the Museum) overseeing the action. Soon after Fey and Carell emerge on-screen playing a suburban married couple whose relationship has devolved into a dull domestic routine the mistake of their pairing becomes evident. Seeing them together serves only to heighten our recall of their TV work and we can’t help but pine for them as Liz Lemon and Michael Scott. But in Date Night they are stubbornly moored to their portrayals of Phil and Claire Foster two entirely normal people who get along perfectly well but who’ve grown a little bored with their daily lives.
Normal of course isn’t ever very funny (if it were Mormons would rule the stand-up circuit). As such the humor in Date Night is supposed to emanate from the extraordinary circumstances with which the Fosters are faced (a case of mistaken identity makes them the target of corrupt cops and the centerpiece of a criminal conspiracy) the desperate lengths they go to get out of trouble and the interesting personalities they meet along the way. None of which unfortunately director Levy or screenwriter Josh Klausner are equipped to provide. As a result two very funny actors are left to twist in the wind for nearly 90 minutes.
What the film cries out for most is a quality supporting player a Dwight Schrute or a Tracy Jordan to enliven the action and give stars Fey and Carell something — anything — to play against but no one in Date Night proves up to the task. Not the mirthless one-dimensional goons tailing the Fosters. Not the mobster played by Ray Liotta who looks more tired of his novelty Goodfellas shtick than we are. And most certainly not Mark Wahlberg whose comic routine in Date Night involves his face playing straight man to his pectorals.
The action is briefly energized by James Franco and Mila Kunis appearing together in a hilarious surprise cameo (oops!) as a feuding miscreant couple. Their comic spark instantly eclipses that of Fey and Carell yielding more laughs in a two-minute span than the two stars are able to conjure throughout the entirety of the film. Unfortunately for us they leave Date Night almost as quickly as they arrive taking their spark with them.
WHAT’S IT ABOUT?
After contemplating the plight of the corporate middle manager a decade ago with the wickedly funny Office Space Mike Judge turns his acerbic eye toward the small business owner with his latest comedy Extract. Arrested Development’s Jason Bateman stars as a Joel Reynold a successful entrepreneur who built his humble flavoring company into a thriving concern that now stands on the verge of being acquired — for a hefty sum — by breakfast cereal titan General Mills.
But just as Joel is poised to realize his dream of selling his company and retiring early everything begins to fall apart. A rash of petty robberies creates discord among his employees. An attractive flirtatious new employee (Forgetting Sarah Marshall’s Mila Kunis) leads him to ponder cheating on his aloof unaffectionate wife. And worst of all a lawsuit stemming from a freak accident on the floor of his factory threatens to bankrupt the company. The confluence of personal and professional crises soon has Joel on the precipice of disaster.
Scattered throughout Extract are the seeds of a really clever comedy on par with — or even surpassing — the venerable Office Space. The cast is certainly terrific: Bateman is the perfect choice for the beleaguered cynical yet well-meaning Joel; the always great J.K. Simmons (Burn After Reading) makes a fine counterpoint as his blunt no-nonsense second-in-command; Kunis is a superb comic femme fatale as a manipulative con artist at the heart of the pivotal lawsuit; legendary KISS frontman Gene Simmons is an inspired choice to play a shady ambulance-chasing attorney — an occupation he no doubt would have chosen had he not gotten into rock and roll; even the much-maligned Ben Affleck is effective as Dean a stoner barkeep who dispenses a hazardous combination of bad advice and hallucinogenic drugs on his best friend Joel.
For all its impressive ingredients Extract makes for a surprisingly tepid dish. Much of the same sly wit and clever characterizations that made Office Space such a delight can be found in this film but not in amounts great enough to sustain it. Most bothersome about Extract is the fact that Kunis’ character heretofore the catalyst for much of the story’s action essentially disappears for the latter third of the film. Almost as an afterthought she’s tossed a brief epilogue during the closing credits that serves to tie up all the loose ends related to her character. It’s emblematic of the movie as a whole.
One aspect of Extract that does pay off is a great subplot involving Dustin Milligan as Brad an empty-headed gigolo Joel hires as part of a disastrously ill-advised scheme to get his wife Suzie (played by SNL’s Kristen Wiig) to cheat on him first — thus clearing the ethical roadblocks (in his mind at least) for his unimpeded pursuit of Kunis’ character. But Brad ends up getting a little too wrapped up in his work making multiple follow-ups to Suzie and ultimately falling in love with his "client." The “break-up” scene between slow-witted Brad and exasperated Suzie is one of Extract’s highlights.
In other words The Holiday probably falls under the “guilty pleasure” category. Its not a classic romantic comedy by any standards but darn it it still makes you smile more often than you want to admit. The story centers on two women: Iris (Kate Winslet) a British newspaper columnist hopelessly in love with a man about to marry someone else and Amanda (Cameron Diaz) a highly successful L.A. career woman who just broke up with her latest cheating boyfriend. Being at the right place at the right time these two gals meet online at a home exchange website and impulsively switch homes for the holiday. Shortly after arriving at their destinations both women find the last thing either wants or expects: A new romance. Amanda is charmed by Iris' handsome brother Graham (Jude Law) and Iris with inspiration provided by legendary screenwriter Arthur (Eli Wallach) mends her heart when she meets film composer Miles (Jack Black). Oh just go ahead and take a big gooey bite. It’s good for the soul. The biggest problem in The Holiday is unfortunately the casting—which is real shame because you really want the chemistry to zing. They get it right with Winslet and Law who are both trying something a little different as romantic leads. Winslet in fact admitted to Reuters this was one of the more nerve-wracking parts she’s ever played because she couldn’t hide behind an American accent or a costume playing someone closer to well herself. But you would think these two Oscar-nominees had been making these type movies all along especially the insanely gorgeous Law who should have every woman swooning with his sensitivity. Where they get it wrong is with the Americans as the Brits just act giant circles around them. Black is clearly out of place. Although being very charming and funny looking like he made Winslet laugh a LOT (and who wouldn’t with that guy around?) their connection on screen is somewhat amiss. Diaz comes off looking even worse. Even though she’s the veteran of the romantic comedy (There's Something About Mary My Best Friend's Wedding) her screechy neurotic klutzy Amanda is in no way appealing. You have to scratch your head wondering why Law’s Graham would fall so hard for her. What does make The Holiday work however is writer/director Nancy Meyers. She’s proven herself quite adept at the genre with films such as What Women Want and Something's Gotta Give under her belt. With The Holiday Meyers skillfully crafts individual moments of refreshing comedy as well as heartening scenes of blossoming romance. The initial seduction scene between Amanda and Graham is particularly sweet and quirky with the crisp dialogue flying at a nice clip. And isn’t it comforting to see a holiday movie minus feuding neighbors commerciality or any sort of mean-spiritedness? But Meyers has the tendency to go more for the superficial rather than dig deep with her characters. The Holiday has a one of those glossy rosy glows whose only aim is to make you feel good. True the film will mostly speak volumes to the women in the audience (that’s a polite way of saying its a “chick flick”) but oh well. It’s fluff may be a nice reprieve during the hustle and bustle of the season.
Nice guy Jerry (Matthew Lillard) is the same numbingly trite character we've seen in hundreds of other movies. He faces 30 with uncertainty. He doesn't know if he should propose to his beautiful girlfriend Denise (Bonnie Somerville). He just can't commit darn it! Oh life is so confusing! Meeting up with his best buds Tom "the rebel" (Dax Shepard) and Dan "the runt" (Seth Green) at the funeral of their dead friend Billy they reunite in the-what else?--tree house of their youth. There they discover a map of Billy's longtime obsession: The disappearance of hijacker D.B. Cooper with $200 000 cash. (Never mind that the real Cooper's flight took off in 1971 well before any of these characters would be born.) So these three friends set out on an expedition from the heart and learn a few valuable life lessons along the way. They embark on a canoe trip in the Pacific Northwest in search of Cooper's lost treasure with a very large bear and two even larger hillbillies in hot pursuit. Which is of course just a big excuse for some crazy hijinks in the woods the obligatory stoner sequence gorgeous but unshaven tree-huggers living atop a redwood a crazed mountain man the usual.
Lillard has an off-kilter charm that works in his supporting roles but not so much as the lead. One imagines the producers offering the role first to Adam Sandler and then to Vince Vaughn or Luke Wilson before finally settling on Lillard after they all refuse. His overbearing earnestness in the role recalls his work in SLC Punk straining for normalcy when something completely off-the-wall would work so much better. Shepard (from MTV's Punk'd) fares better he is amusingly annoying but at least he takes a side. Green is usually funnier than this but he doesn't usually have to lug an inhaler around with him as a prop or constantly stoop for laughs as the token scaredy cat. The three of them do have an easygoing chemistry that makes them good company. Burt Reynolds turns up with a foot-long beard as the mountain man who might know something about the treasure. It is certainly the most vanity free performance of Reynolds' career and while it doesn't amount to much it's a step in the right direction for a guy who could still be a great character actor if he could finally get over the fact that he is no longer Stroker Ace.
Steven Brill is best known as the director of the first Adam Sandler movie that didn't reach nine figures at the box office Little Nicky and he hasn't exactly advanced the art of screen comedy here. Nevertheless the pacing is brisk the timing is crisp and the repartee (credited to five writers) is snappy. Even the action comedy sequences mostly running away from the bear and the hillbillies are convincingly done. But make no mistake this is clearly the work of a man hell-bent on paying homage to The Goonies and for that miniscule target audience that not only saw The Goonies in the theater it can also differentiate the Coreys. Of course '80s music has been back in vogue for several years so it's inevitable that the '80s comedy embodied in this movie The Girl Next Door
Harold & Kumar Go to White Castle and others would return. But somebody had better make a good one soon or it will disappear faster than you can say Kajagoogoo.