I know, that headline is trouble. You're always treading dangerous ground when you insist on defining what makes a good this or the right kind of that, as if there is no room for change or improvement when it comes to classic properties. Of course there is — Jason Segel's 2011 Muppet film approached the concept from an entirely different direction. It didn't hit all of its marks, but it prevailed overall in its conceit: make a movie not about Muppets, but about Muppet fandom. But Muppets Most Wanted, in absence of a clear mission statement and fueled largely by the monetary glimmers of the sequel game (the film's opening number admits this outright), has fewer marks readily available to hit. Landing in the ambiguity between the classic Muppet adventure formula and Segel's post-modern Henson appreciation party, Most Wanted feels like a failure on both counts. It doesn't know which kind of movie it wants to, or should, be. So it doesn't really be anything.
On the one hand, there's the half-cocked "get-the-band-back-together" through line, mimicking but not quite accomplishing the spirit of the 2011 picture. None of the Muppets are particularly likable or charming in this turn, and even fewer of them actually given anything to do. Kermit loses his s**t in the first act after a spat with Piggy and a barrage of insubordination from his troupe (provoked by the nefarious Dominic Badguy, Ricky Gervais), storms off in a huff, and gets swept up in a case of mistaken identity when his criminal doppelganger Constantine pulls the old switcheroo, landing Kermit in a Russian gulag. You'd think this would be a good opportunity for the second tier of Muppet favorites — Piggy, Fozzy, Gonzo, Scooter, Rowlf, et al — to go on a search and rescue... but save for a very brief sequence at the tail end of this achingly long film, none of the other Muppets are giving anything to do. They just hem and haw and perform the occasional "Indoor Running of the Bulls" while Dominic and Constantine scheme, rob banks, and bicker.
Meanwhile, Kermit has some fun in prison — a far more endearing plot that sees him befriending the merry convicts, organizing a penitentiary revue, and even winning the heart of the vicious warden Nadia (Tina Fey). If only we could spend more time with real Kermit and less time with fake Kermit and his second banana Gervais, an effectively boring pair.
On the other hand, though, there's the Muppet shtick that fans of The Great Muppet Caper and Muppet Treasure Island — and yes, The Muppet Show itself — will deem the movie's best material: CIA Agent Sam Eagle and Interpol Agent Jean Pierre Napoleon (Ty Burrell) hot on the trail of Constantine and Dominic. Here, we get a different type of Muppet movie entirely from what Segel and the A-plot in Most Wanted are opting: the old fashioned vaudeville act, with Sam standing as an independent entity from his googly-eyed brethren, on a goofy, musical prowl with Burrell that fuels the film with its best and most consistent chuckles. Their "Interrogation Song" number is outstanding, exemplifying the many talents of Flight of the Conchords' Bret McKenzie, who wrote all the music for this and the previous film.
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Unfortunately, Muppets Most Wanted isn't sure that it wants to be The Great Muppet Caper, beheld so stubbornly to its Segelian roots. There's a palpable compulsion to stick with this agonizingly self-aware, nostalgia-crazy, brimming-beacons-of-the-past-in-a-callous-today theme that doesn't work a fraction as well as it did in the 2011 film. Without a legitimate celebration of any of our favorite characters, how could it? With so much going on in this movie, and such a lengthy runtime at just under two hours, it's a sure sign of failure that we walk away feeling like we spent barely any time with the Muppets.
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A character drama with a twisted sense of humor Silver Linings Playbook follows Pat (Bradley Cooper) a recently released psychiatric hospital patient who moves back in with his parents and begins a quest to reclaim his broken marriage. Despite the warnings from doctors Pat's mom Dolores (Jacki Weaver) and dad Pat Sr. (Robert De Niro) take him in hoping familiar settings and a little Eagles football may be the perfect cure. It isn't — Pat continuously loses his s**t over his ex-wife Nikki frantically stressing over her high school English class' reading syllabus (he toss Hemmingway's A Farewell to Arms straight through a glass window) and breaking down every time he hears their wedding song. There's no hope for him and Nikki — catching her with another man and beating him to a pulp led to his institutionalizing — but Pat's focused mind doesn't let him deviate.
After being invited to a friend's house for dinner Pat meets Tiffany (Jennifer Lawrence) who sees a friendship in the bipolar patient. After the death of her husband Tiffany went off the deep end engaging anyone and everyone for sex. She's sees a companion in Pat and although he's reluctant the off-kilter pair can't fight the magnetic power of their psychological issues.
Most of their conversations end in screaming or blunt admissions — but they're relatable.
Mental illness and human connection may sound like an equation for eye-roll-worthy saccharine but director David O. Russell mines Cooper and Lawrence's comedic strengths to turn Silver Linings Playbook into one of the funniest movies of the year.
Nothing is off limits for Russell; one reoccurring joke is that Pat can't stop bringing up the fact that Tiffany's husband is dead. As Tiffany puts it to Pat, "You say more inappropriate things than appropriate things."
To make Pat aware of how his bipolar existence affects the people around him and to make us the audience feel for this heart-wrenching experience Russell shoots and paces Silver Linings Playbook for awkward comedy.
He also returns to the always-reliable family dynamic. The Fighter is to Boston as Silver Linings Playbook is to Philadelphia De Niro perfecting the Eagles-loving everyman with a collection of betting buddies who may be just as delusional as Pat.
The legendary actor proved he had comedy chops in Meet the Parents but here he blends it with gravitas that earned him a legacy in the first place. Rush Hour actor Chris Tucker also pops up as Pat's good friend from the institution. More restrained than ever Tucker helps add warmth to the picture. Pat has a support system everywhere he turns. In essence the film emanates with positive vibes.
Even with a great ensemble Silver Linings Playbook is Cooper and Lawrence's show. To the bitter end Pat and Tiffany never get sappy with one another always at each other's throats over the feelings they harbor and the pasts they can't shake away.
Cooper loses himself in the chaotic mind of Pat without ever slipping into a caricature of the mentally ill. He can stir up laughs with his desperate search for Pat's missing wedding video and then shock us in the blink of an eye when things turn violent.
Impressively Lawrence's Tiffany is never written down. She never succumbs to being a comforting presence always provoking Pat to push himself.
She's a strong woman but a strong woman juggling her own set of issues. Lawrence conveys all of that without missing a beat. That dynamic should be make Silver Linings Playbook the talk of the town come Oscar time.
WHAT IT’S ABOUT?
Set in a seaside English town in the '80s this small heartfelt tale centers on the relationship between Edward a 10-year-old boy whose parents run a retirement home and Clarence an aging magician and recent widower who is one of the new residents. Lonely and curious Edward has a habit of befriending the old folks only to search for their ghosts after they die. When Clarence comes in both learn new life lessons as the older one comes to terms with his past while the younger boy finds reason for optimism as he faces the future.
WHO’S IN IT?
Michael Caine is wonderful in a startling character role in which the 76-year-old movie icon allows himself to look older drawn and beaten in parts of the film. Although the career of the two-time Oscar winner has been full of memorable performances ranging from Alfie in 1966 to The Dark Knight last year it’s this kind of realistic and moving portrayal that has marked the best of his work. and he’s never been better than in this memorable portrait of a forgotten magician who still manages to discover a couple of new tricks late in life. Matching him every step of the way is the engaging Bill Milner (Son of Rambow) who manages to go toe-to-toe with a screen legend without coming off as a too precocious of a child actor. He’s haunting and extremely natural in a pivotal three-dimensional role that never seems forced. Helping matters immensely is a great ensemble of splendid British stars who play the other residents including the great Rosemary Harris Leslie Phillips Sylvia Syms and Peter Vaughan.
Director John Crowley (Boy A Intermission) wisely lets his actors off the leash to create a chemistry that makes the modest story work its own kind of movie magic. Reminiscent in certain ways of the kind of British kitchen-sink dramas popular in the '60s Crowley resists any opportunity to let directorial flash overwhelm this poignant character-driven tale thereby letting it thrive on its own terms.
With such a superlative cast of British-acting royalty in the supporting roles you almost wish there were a few more scenes showcasing these characters in the film’s trim 91-minute running time.
Clarence rallies his talents to put on a magic show for the home’s residents. Caine pulls this off seamlessly and the sequence is pure delight.
NETFLIX OR MULTIPLEX?
This quaint film won’t lose anything on TV screens and may be hard to find in wide release so take the opportunity to see it any way you can.
All of Britain is abuzz as "E-Day" approaches. The day when the pound will be converted into euros and the former will no longer be accepted as a valid form of currency. Enter two brothers: wide-eyed 7-year-old Damian (Alexander Nathan Etel) and his 9-year-old fiscally precocious and shrewd brother Anthony (Lewis Owen McGibbon) who stumble upon a million pounds and are split on what to do with it in the short time they have. They are in agreement on one thing: They will not tell their father (James Nesbitt) about the money. Anthony just wants to spend it on material things but Damian believes the money has been delivered to them by some sort of divine osmosis a miracle from their recently deceased mother. Through the saints he claims he sees and talks to he thinks it is should be given exclusively to the homeless--or anyone deemed worthy by meeting Damian's rigorous criteria…admitting they are poor. He is later crushed to discover that the money's true origin is a heist gone awry as he crosses paths with the obligatory villain posing as a homeless man and threatening Damian to hand over the money or else pay the consequences.
There's a kind of freedom in releasing an indie film in which the biggest name belongs to the guy behind the camera. Rather than worrying about watching mega movie stars it shifts the audience's attention so they can get involved in a complex storyline. Millions is no exception to this rule. The acting is superb all the way around but undoubtedly the two biggest stars of the film are also its smallest. The interplay between two brothers--played by Etel and McGibbon in their feature film debuts--makes the viewer feel like a fly on the wall in any family's home. For such young kids they display an amazing skill at being able to capture the subtle nuances generally present in sibling relationships. Throw in the dynamic of their father--played well by Nesbitt a veteran of the British-indie circuit--and his new girlfriend (Daisy Donovan) who threatens to disrupt the family harmony and you feel like a genuine intruder on a family in crisis. But Damian's naive musings help keep the story essentially light vibrant and flowing.
Millions marks a complete about-face for director Danny Boyle. With his previous films he followed along a general path of the same moods and tones: his harrowing take on drugs and decadence in England in the groundbreaking Trainspotting; his hostage-falls-for-kidnapper caper A Life Less Ordinary; his disappointing attempt at a mind trip with The Beach; and his zombie take-off 28 Days Later. It's safe to say that a feel-good family film would not seem the logical next step. But Boyle executes Millions brilliantly showing not only his sensitive side but his flair for the whimsical. Parts of the movie even suggest hints of Tim Burton complete with sinister-sounding choral hymns in the background. With Millions Boyle establishes himself as a force to be reckoned with one of the most versatile directors around today.
Based on a true court
case first tried in 1953 Evelyn recounts the story of a man on a mission. Rumpled pub-crawler Desmond Doyle (Pierce Brosnan) has a streak
of bad luck when he loses his wife to another man the day after
Christmas and then loses his three
children Evelyn (Sophie Vavasseur) Maurice (Hugh McDonagh) and Dermot (Niall Beagan) to the Catholic
church and Irish courts. That he's without a wife and a regular job prompts the courts to place the tots in an
orphanage which he unsucessfully tries to steal them from. This of course was not a good move. He
gets caught and the courts see this as a strike
against him. Doyle does not give up--instead he gets his life together. But it
turns out that an obscure law that has never
been tried in the courts before requires that Doyle's estranged spouse give him
custody of the kids so he enlists several lawyers (Alan Bates
Aidan Quinn and Stephen Rea) to help him get
In the end the story ends happy ever
after but not without its up and downs. Doyle must
face the hardship of living without his children and
his children must suffer through living in a miserable
Although this story line is based in predictibility-land the actors
still come out on top. Brosnan's character with his native Irish accent anti-Bond dishevelment and
pitful story is charming. Each time he leaves the
screen he leaves you wanting more. It seems
as though this role was made for him. We are used to seeing
him in the coolly unrealistic role of James Bond and this is a refreshing change. He shows the
true acting skills that he really has as a father in
agony. Julianna Margulies
also surprises with her protrayal of Bernadette
Doyle's love interest. She is charming and feisty as
a bartender who enlists her solicitor brother's help to put the devastated father's family back together again.
He may be a double Oscar nominee but Bruce Beresford's directing here is mediocre. The director whose only decent film in recent years was 1999's Double Jeopardy makes a script that is already too obvious painfully so. Pacing is a little slow some of it is corny (ie: rays of sunshine representing faith) and some of it seems unnecessary (a love-triangle plot). The great acting and chemistry between Doyle and his kids especially daughter Evelyn is the best part about this movie.