The Bob’s Burgers Movie

Release: Friday, May 27, 2022 (limited)

👀 Hulu

Written by: Loren Bouchard; Nora Smith

Directed by: Loren Bouchard; Bernard Derriman

Starring: H. Jon Benjamin; John Roberts; Dan Mintz; Eugene Mirman; Kristen Schaal; Kevin Kline; Larry Murphy; Gary Cole; Nick Kroll

Distributor: 20th Century Studios

 

***/*****

The Bob’s Burgers Movie is a summer breeze of an adventure that may not be remembered for long but is nonetheless an entertaining extension of the Emmy-winning series that began in 2011. Whether this flirtation with murder and conspiracy deserved the big screen treatment is up for debate.

Whether it deserved to be dropped into theaters quite so unceremoniously is probably the better question. One of the defining qualities of the show is the underdog status of the Belcher family and how humble Bob (H. Jon Benjamin) just can’t get no respect. So it is apropos that whatever hope this little upstart had of doing business got crushed by the big boys of the box office — eaten alive by Jurassic World: Dominion and choked out by the lingering contrails of Top Gun: Maverick. Like the store front, did anyone passing through the cineplex actually see the sign?

You can just add this real-world scheduling snafu to the plate of general misfortune that Bob has been handed through 12 seasons and counting. Stoically he endures, empowered by his mustache and the enduring love of his eternally optimistic wife Linda (John Roberts). And there’s never a dull moment with three children — socially awkward Tina (Dan Mintz), musically inclined Gene (Eugene Mirman) and rabbit-ear-wearing Louise (Kristen Schaal) — constantly having misadventures.

After being denied an extension on a bank loan, Bob and Linda have one week to come up with the money or the lights go out permanently. But then a water line bursts and a sinkhole opens in front of the store, putting a damper on summer sales. With a (questionable) assist from their longtime friend and loyal customer Teddy (Larry Murphy), they go mobile in an attempt to keep operations going, taking to the nearby Wonder Wharf where they inadvertently cause further problems.

Meanwhile the kids are trying to get to the bottom of a mystery involving the murder of a former carnival worker named Cotton Candy Dan. Apparently the sinkhole isn’t just an inconvenience for business; it’s a crime scene, one that may even implicate their landlord, Mr. Fischoeder (Kevin Kline). Louise in particular is keen to figure out what’s going on, motivated to prove her bravery following an incident with bullies at school. The ensuing investigation finds the trio hopping all over town, confronting strangers while overcoming their own worst fears and insecurities in the process.

The Bob’s Burgers Movie doesn’t present the greatest threat the Belchers have ever faced, it’s merely the next one. Granted, the danger element is slightly more elevated than the average episode and there are a couple of heartfelt moments that bring the family closer together. As a movie based on a niched show, it was never going to be a hot seller in theaters. As a movie about embracing individuality and not giving up hope, Bob and his never-quitting family might just find themselves with a new lease on life on streaming, where people can stop in for as long (or as short) as they like. 

Let’s ketchup on a steak out

Moral of the Story: Even though it doesn’t skimp on the ingredients that have earned the show a devoted following, The Bob’s Burgers Movie is more likely to play better in front of audiences who haven’t spent much time around this grill. There are some revelations along the way but overall there just isn’t enough going on from a character standpoint to call this a significant chapter in the Belcher family legacy. (That being said, I have been known to binge-watch the heck out of minor little movies like this.) 

Rated: PG-13

Running Time: 95 mins.

Quoted: “Hello, is this the police? I want to report a . . . a thing happened!”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com 

The Scarlett Johansson Project — #5

Another new movie experience and another lesson learned. The one we have to talk about this month has become something of a cult classic since its release nearly two decades ago. I can see how it has earned that reputation. It’s a very well-made movie, a realistic take on teen alienation that comes with a prickly sense of humor. Unfortunately I cannot say I enjoyed it very much. In fact the first third of this movie was a constant struggle not to hit the Back button on my remote.

In the Pros column, the performances are outstanding. They absolutely do their job. It’s cool to have finally seen the first comic book adaptation Scarlett Johansson took part in. This is a different kind of comic than what audiences are accustomed to seeing her in today. Terry Zwigoff’s Ghost World is a movie with a defiant personality. It’s (mostly) costume-less, leisurely paced and gleefully misanthropic. This cynical dramatic comedy is based on the 1995 serial (later turned into a graphic novel) by Daniel Clowes, whose collaboration on the screenplay surely helped the film pick up that Oscar nom. The movie is also notable for being the role that put a young Scarlett Johansson on the map. She celebrated her Sweet 16th after it came out.

Ghost World has, oh let’s see, a 92% critical score and an 84% positive audience response on Rotten Tomatoes. It’s a movie about outsiders, but I’ve been left at the end feeling like one myself. That’s not to say I didn’t identify with anything the characters were saying or that I didn’t understand what the movie was doing. I was just put off by the aggressively nihilistic attitude. I found it a struggle to really care about what happened to any of these characters after a certain point.

Scarlett Johansson as Rebecca in Terry Zwigoff’s Ghost World

Role Type: Co-lead

Premise: With only the plan of moving in together after high school, two unusually devious friends seek direction in life. As a mere gag, they respond to a man’s newspaper ad for a date, only to find it will greatly complicate their lives. (IMDb)

Character Background: Rebecca is best friends with Enid. They’re a pair of misfits who have had each other’s backs all through high school. Now staring at a wide open calendar, they find themselves listless and aimless. They may not have plans like all the losers bound for college but they’re going to make it a goal to mess with other people’s plans. Yes indeed, the opening minutes prove they aren’t really the gossipy type. Trash-talking is more their style and everyone is a target — the crippled, the elderly and possibly senile, struggling parents and fugly waiters.

To her credit, even from the beginning Rebecca comes across as the more mature one. She often pulls up short of the line Enid is willing to cross. You also get the sense Rebecca is more popular with boys. Yeah she’s pretty but moreover she’s more approachable; she isn’t constantly spitting venom. The movie is about how the two friends eventually drift apart over the course of the summer. We get a steady trickle of moments where Rebecca demonstrates a desire to move on, to change. To grow. Director Terry Zwigoff, a bundle of anxious nerves himself, observes all these changes in the most mundane of ways but there’s clearly a sense of stability in Rebecca that we do not find in Enid.

What she brings to the movie: confidence, the kind only working with the Coen brothers can provide. Coming on the heels of The Man Who Wasn’t There, Ghost World you can almost consider Part Two in a two-act coming-out party for the young teenage actor. She pendulums from a clearly not-shy teen in a 50s noir to a disaffected teenager in a post-Kurt Cobain world. The sultry and seductive voice that defined her character in The Man Who Wasn’t There is traded out for an amusingly dry monotone that rarely raises above calm speaking voice. Her portrayal is nuanced and authentic and, at least for me, the most sympathetic of all the main characters.

In her own words: “Terry just let us be ourselves. He understood that he cast two people who had really good chemistry. We were kid actors who, by that point, had started to understand how to do our job and explore this kind of naturalism that the film required. I think that is what is so great about Ghost World, is that it captures these characters at this very specific point in their lives.”

Key Scene: when Enid goes to visit Becca at work is one of my favorite moments in the movie. It perfectly captures the soul-crushing nature of minimum wage jobs, while also subtly introducing the fracture that ends up becoming quite a rift between the two besties. (Also, while I may not have really liked Thora Birch’s character, the movie gets bonus points for this being the only identifiable costume in this comic book adaptation.)

Rate the Performance (relative to her other work):  

***/*****


All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: IMDb; interview excerpt courtesy of the Criterion Collection 

Paddleton

Release: Friday, February 22, 2019 (Netflix)

→Netflix 

Written by: Mark Duplass; Alex Lehmann

Directed by: Alex Lehmann

It’s not often that the Duplass brothers make a heavy movie. Darting in and out of the so-called mumblecore scene and playing with time in pleasantly nostalgic trips down memory lane (Blue Jay) or lurching ahead into the future with spirited abandon and childlike naivety (Safety Not Guaranteed), they typically go for heartache rather than rip-your-heart-out. But the timeline we’re dealing with in Paddleton makes it absolutely the bitterest of sweet efforts from the guys who got away with making navel-gazers about a guy living at home and a puffy chair.

Yeah Paddleton is another slice-of-life drama (supposedly the first in another four-picture deal Duplass Brothers Productions have secured with the streaming behemoth Netflix), but then it’s also a story dealing with cancer and mortality so it’s really more like the whole damn cake we’re tucking into here — life, death and . . . haunting your friend in the afterlife, maybe? This is a more serious movie, there’s no doubt about that, but if there’s a way to find the humor in something as distressing as one’s own impending death, leave it to the Duplasses to find that way.

In Paddleton Mark Duplass plays a 40-something bachelor named Michael and he’s given a diagnosis that turns out to be terminal. As an actor Duplass is a pretty reliable commodity at this point and so it’s Ray Romano playing his upstairs neighbor Andy who’s the revelation. He might never have been better than he is in this utterly neurotic, quietly devastating role — his second consecutive dramatic persona following a supporting part in Kumail Nanjiani’s The Big Sick (2017). The two eke out a quiet, fringe existence wherein they escape the 9-5 doldrums by watching kung fu movies, eating pizza and engaging in this strange but totally fun-looking game they’ve invented called ‘paddleton’ — a hybrid of tennis, squash and basketball played off the back of a dilapidated building.

It doesn’t look exciting or rewarding but they slip into this routine like one pulls on their favorite torn Levis. There’s a comfort and security in simplicity, a notion that’s only reinforced — and with surprising profundity, too — once we’ve arrived at the crux of the movie, when Michael decides to end his life on his own terms rather than wait for the disease to land him in the hospital, hooked up to machines. Michael’s choice sets up a philosophical conundrum that Andy of course wrestles with, urging his friend to fight back. Michael doubles down, insisting this is a quality-over-quantity situation. He’d much prefer to spend his remaining time doing just what they’ve always done: pizza, kung fu, paddleton. Not necessarily in that order. Indeed there’s comfort in having a routine. No bucket-list stress, no grand speeches (well, there might be a good half-time speech delivered by Andy at some point). No plastic feelings, please.

Director Alex Lehmann previously worked with Duplass alongside Sarah Paulson in 2016’s Blue JayThe collaboration resulted in two outstanding performances and that’s been duplicated here. Romano and Duplass make for an endearing bromance that shoves the likes of Seth Rogen/Jonah Hill/James Franco and Will Ferrell/John C. Reilly to the way back seat. Paddleton is an amiable drama that toots along at about two miles an hour, features about five actors total, and physically goes almost nowhere — the narrative briefly kinks out into a brief road trip “comedy” of sorts when the pair have to procure some controversial medicine — and yet it manages to hit some profound depths along the way.

What starts out as an air of melancholy progresses to a rather stunning, emotional climax, a responsibly handled if challenging to watch dramatization of those last, ultra-heady stages of the grieving/dying process. Acceptance is a toughie, mostly because of the stepping stones you have to cross to get that peace of mind. A moment of paralyzing fear becomes the Duplass’ signature capital-A awkward scene. Yet for all the excruciating detail, Paddleton is ultimately life-affirming. These two dudes care for each other deeply. Despite being tinged with some ugliness the movie is beautiful because it makes this relationship the focus.

“Okay, so . . . if reincarnation is actually a thing . . .”

Recommendation: Two note-perfect performances elevate Paddleton above the potentially overly-sentimental, sugar-coated drama it might have otherwise been. Heartbreaking and heartwarming in equal measure, Paddleton is probably the most challenging Duplass Brothers movie currently on offer but along with the pain comes plenty of reward. A high recommendation for fans of Mark, Jay and whatever other Duplass may be lurking out there. Oh, and Ray Romano too. 

Rated: R

Running Time: 89 mins.

Quoted: “I’m the dying guy!”

“I’m the other guy!”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com 

Unicorn Store

Release: Friday, April 5, 2019 (Netflix)

→Netflix

Written by: Samantha MacIntyre

Directed by: Brie Larson

Very much like a unicorn the directorial début of Brie Larson is a colorful curiosity. Unicorn Store reunites her with her Captain Marvel co-star, Samuel L. Jackson, albeit under entirely different circumstances. Instead of trying to prevent intergalactic war here we’re dealing with a millennial figuring out how she’s going to get out of her parents’ house and support herself. And, you know, support the unicorn that she’s about to get — the one she’s dreamed about owning since she was a kid.

Something you need to know about me before we move forward: I may not believe in unicorns but I’m a big believer in Brie Larson. I’ve loved her in most things I’ve seen her in. I also like to think I have a fairly high tolerance for quirky, “precious” indie movies. In 2015 Swiss Army Man rocketed to the top of my favorite movies, while Wes Anderson’s remained among my favorite filmmakers for some time. I’ve stuck by the Duplass brothers at their mumbliest and apparently on a good day I’ll even tolerate a Hipster Baumbach movie.

With all that said, I couldn’t really buy into the intentional absurdity of Unicorn Store. I lay most of the blame at the foot of Samantha MacIntyre, whose words have a touch as soft as a sledgehammer through glass. Hers is one of those overly affected screenplays that tries too hard to convince you it’s as quirky as its competitors (Crystal Fairy and the Magical Cactus is another film that springs to mind, though granted the characters in Unicorn Store are far less obnoxious). Here, just as in Magical Cactus, overt attempts to be different result in performances that feel something less than natural and a viewing experience that’s more grating than is necessary.

Larson pulls double duty as she not only directs but stars as Kit, the emotionally immature protagonist who starts the film failing/dropping out of art school and who for the longest time is convinced the only thing she’s succeeded at in life is disappointing her parents (an okay Bradley Whitford and an (intentionally?) annoying Joan Cusack). They work as camp counselors for troubled youth. Their eternal optimism is constantly offensive to Kit’s sensibilities. After a few nights of being back under her parents’ roof, mixing glasses of Cabernet with several shots of self-loathing, she stumbles into a boring routine at a soul-crushing(ly colorless) temp agency, a 9-5 which revolves around pushing buttons on a copier and having her own pushed by a creepy VP named Gary (Hamish Linklater — no relation to Richard).

While working on a marketing pitch for a vacuum cleaner for her Real World, real priggish bosses, Kit starts receiving mysterious invitations from an equally mysterious Store. Specifically, from a Salesman (Jackson) adamant he can provide Kit what she’s always dreamed of having. It’s in this weird, brightly decorated, strangely tailor-made space — it even has its own ice cream bar! — she learns that unicorns are not only real, they come with owner’s manuals. The presentation’s flamboyant but the details enclosed are written plainly in black and white.

They describe a binding contract that considers everything from the quality of the proposed living quarters, feeding and dietary habits, even the prospective owner’s financial and emotional stability. It’s all very complicated and considered. It’s apparently a responsibility, one that Kit must prove to the eccentric Salesman — and to herself — she’s capable of handling. As she commits gung-ho to her goal, she discovers she’ll need some help in completing one of the first basic requirements: providing adequate living conditions. That’s where hardware store hunk Virgil (Mamoudou Athie) comes in. Although Athie and Larson share a nice chemistry it’s hard not to question the logic behind this “relationship.”

Depending on your penchant for reading deep into things Unicorn Store is likely to leave you either underwhelmed or confused by its less-than-metaphorical denouement. You might just be indifferent to how literally it all plays out. It’s a movie perched on the edge of reality and fantasy, and it definitely has interesting ideas going on. Credit Larson’s reliable acting for the film’s few moments of poignancy. Yet as director, much like she’s written as the lead, she is often too forceful with her hand, too eager to rush seemingly important developments to nab the ending she thinks she’s due.

I shall call you ‘Thanos.’

Recommendation: Unicorn Store‘s an easier one to access if you’re a Brie Larson fan and you have a lot of patience for awkward, relentlessly self-deprecating millennials. If the word ‘Adulting’ doesn’t make you want to throw chairs. Believing in unicorns would be a plus, too. Of course the subject matter isn’t what’s off-putting. The narrative execution makes it hard to invest in the fantastical off-shoots of the real-world, and in this modern Peter Pan fairytale, not being able to believe is kind of a big problem. 

Rated: PG-13

Running Time: 92 mins.

Quoted: “The most adult thing you can do is failing in what you really care about.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.imdb.com