The Gentlemen

Posted on March 16, 2020 by Tom

Release: Friday, January 24, 2020

👀 Theater

Written by: Ivan Atkinson; Marn Davies; Guy Ritchie

Directed by: Guy Ritchie

Starring: Matthew McConaughey; Charlie Hunnam; Hugh Grant; Michelle Dockery; Jeremy Strong; Colin Farrell; Henry Golding; Eddie Marsan

Distributor: STXfilms (USA)

***/*****

The Gentlemen appears as a sight for sore eyes for anyone hoping for Guy Ritchie to return to form. After a string of generic blockbusters that kicked off with Sherlock Holmes in 2009 and then lasted forever, it seemed pretty clear he was not returning to his old stomping grounds — the seedy, criminal underworld of London as depicted in indie hits Lock, Stock and Two Smoking Barrels (1999) and Snatch (2000). And why would he? Franchise filmmaking has rewarded him. His “hot” Aladdin remake turned out to be really hot — grossing more than a billion dollars at the global box office last year.

Like a sequel, The Gentlemen is not as fresh as the early Cockney gangster films that put his name on the map but it is another example of the transformative effect of Ritchie’s style and process. His movies are litmus tests of his cast’s willingness to separate brand image from the bell-ends they’re compelled to become as well as their ability to adapt on the fly to his extemporaneous approach to shooting. His latest crime comedy features as many plot points, diversions and schemes as it does famous faces, and it does not disappoint when it comes to watching big-name actors trying to wrap their mouths around Ritchie’s barbwire dialogue. Some succeed more than others, but with the sheer size of The Gentlemen‘s roster, it’s a pretty high success rate.

Oscar-winner and proud Texan Matthew McConaughey passes muster as Mickey Pearson, an expat who left his poverty-stricken life in America thanks to a scholarship to Oxford. As many a McConaughey character is wont to do, he becomes a major cannabis advocate. What began as a small business venture selling to the stuffy students evolves into a massively profitable weed empire founded on (technically under) British soil and through violence and intimidation on the streets. When conspiring circumstances force the old man out of the game, he triggers an avalanche of plots and schemes as a long line of potentials vie to take his place upon the throne. But it will take more than pure business acumen to actually oust a king.

In the simplest terms, The Gentlemen boils down to a potential transaction between two savvy businessmen who both happen to be Yankees — Pearson and billionaire Matthew Berger (Jeremy Strong, who seems least at home in this environment). In Ritchie’s world trust, like political correctness, is always in short supply. There’s borderline none of it here, with Strong’s annoyingly nebbish (but at least well-dressed) Berger possibly in cahoots with even worse people. Rogue agent Dry Eye (Henry Golding, doing good work to separate himself from a recent string of hunky eligible bachelor types) blows through the narrative, utterly unconcerned about the damage he’s doing and whose business he’s worse for. His arrogance makes him a true threat to Pearson’s power and legacy. Themes collide full-force in one of the movie’s signature scenes wherein a hopeful Dry Eye offers to buy Pearson out at an exorbitant price. And it is bad form to decline such an offer when it’s so clear his time is up as ruler of this urban jungle.

The characters are certainly worth remembering but the other big part of the equation is the deliberately convoluted storytelling. The Gentlemen is ambitious to a fault. It’s daunting enough to keep up with this labyrinth of relationships, clandestine partnerships and double-crosses unfolding. But, as it turns out, this whole farce is taking place in the not-so-distant past. The details are relayed to Raymond (Charlie Hunnam), consigliere to the King of Kush, by a gloriously against-type Hugh Grant as Fletcher, a smarmy private investigator who is trying to blackmail those who have wronged Big Dave (Eddie Marsan), the editor of a British tabloid journal. The framing device — “let’s play a game, Raymond,” Fletcher pleads like a school boy with a dirty little secret — overcomplicates an already stuffed narrative.

It’s not as though nothing good has come of Ritchie’s rise to prominence in the mainstream. The Gentlemen is a crime comedy of noticeably increased scale. We’ve outgrown the neighborhood of card sharps, street brawlers and estate agents and moved to the international ring of truly bad blokes and drug lords. Here you’ll encounter everyone from low-ranking British Lords to sons of Russian oligarchs and at least two generations of Chinese gangsters. There’s also Colin Farrell running around trying to repay a debt after his ragtag group of MMA fighters ignorantly steals something they shouldn’t have. For what it cost to make The Gentlemen, Ritchie could have made Snatch and RocknRolla with money left over to blow on van loads of ganja. Bigger doesn’t always mean better, yet from a technical standpoint the movie justifies the price tag — the wardrobes snazzy and the production design a classy, sleek upgrade.

For all that is ridiculous and excessive about The Gentlemen, I can’t really complain. It’s just nice to have our Guy back.

Henry Golding taking the mickey out of Matthew McConaughey

Moral of the Story: Come for the cast, stay for the schadenfreude (and the insults). There aren’t too many good people here to root for. In fact, that’s part of what makes The Gentlemen interesting.

Rated: R

Running Time: 113 mins.

Quoted: “There’s only one rule in the jungle: When the lion’s hungry, he eats!”

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

Ted 2

Posted on July 10, 2015 by Tom

Release: Friday, June 26, 2015

[Theater]

Written by: Seth MacFarlane; Alec Sulkin; Wellesley Wild

Directed by: Seth MacFarlane

Ted 2 turns out to be ridiculous, which in itself is ridiculous. . .because it’s ridiculous to think the first was ridiculous enough to justify something ridiculous like a sequel.

Everyone’s favorite foul-mouthed stuffed teddy is growing up in the follow-up to Seth MacFarlane’s surprisingly successful debut about a child who wishes for his favorite cuddly toy to one day come to life. Now Ted’s getting married to his bear-boo, Tami-Lynn (Jessica Barth) — who barely gets to show any, boo!

As predictable as an episode of Family Guy, a conflict materializes out of rather contrived circumstances, where we see their relationship falling on emotional hard times only shortly after nuptials were made official. Desperate to make Tami-Lynn happy again, Ted suggests they have a child, reasoning that if they learned to love a kid they might remember how to love each other again. Of course the epiphany has probably come right on the heels of what may presumably have been Ted’s fifth or sixth Bud Light. Still, it’s . . . it’s whatever. It works, leave it alone and let’s move on.

When finding sperm donors proves to be more of an issue than the couple expect, they turn to adoption as their last resort. Sadly it’s a move that brings the crushing blow of reality down upon them when their applications draw attention from the state government. Ted and Tami-Lynn’s marriage becomes annulled when officials declare Ted isn’t human, rather just a piece of property. He then finds himself enlisting the help of his thunder-buddy-for-life John (Mark Wahlberg) in his quest to prove both his status as a human being and a citizen of Boston, and that his marriage should be recognized as legal. It may not be a voice many are expecting to hear, but MacFarlane does contribute something to the conversation surrounding marriage equality and it’s welcomed.

What the film lacks in MacFarlane’s signature, perfectly choreographed musical interludes it makes up for with a surprisingly sensitive story. Suffice it to say, there have been far worse comedy sequels before; MacFarlane could have also chosen to build upon his western comedy concept. He shows restraint by not going that route. Not that this film is going to go down as a particularly memorable comedy. MacFarlane still can’t help but sketch outlines of supporting characters who do nothing more than function as signposts, convenient for when you inevitably get lost in this meandering little tale. Amanda Seyfried, while likable enough, seems to be twiddling her thumbs with her throw-away role of a pot-smoking attorney. Morgan Freeman is all but wasted as a more reputable civil rights attorney they all hope will help them after failing to get the courts to rule in favor of Ted and Tami-Lynn in the first of several courtroom scenes.

Beyond failing to justify such big names in such insignificant roles MacFarlane struggles to shape all the events into a cohesive whole. Although it feels slightly less episodic than the last outing, and certainly less so than A Million Ways to Die in the West, this narrative does its fair share of aimless wandering as Ted and John befriend Seyfried’s Samantha Jackson. As their legal representative she has the appearance of being book-smart, but then she smokes a ton of weed in her office so she’s obviously not too street smart. Do we need a 10-minute scene to get that point across, though? Freeman gets to have his moments (hearing him deliver the line “After I’m finished fucking myself. . .” is for some reason very satisfying), even if they, too, contribute far more to a bloated running time than to this campaign for emotional resonance. Indeed, the first time we even meet Freeman’s character it turns out to be nothing more than a wild goose chase. But hey — more time spent with this adorable teddy bear and his likable Bostonian pothead friend, the better, right?

There’s plenty of time to spend, too. At five minutes shy of two hours Ted 2 runs a risk of overstaying its furry little welcome. There’s this whole other subplot involving Hasbro toys and the company’s evil underbelly — John Carroll Lynch’s money-hungry executive and a creepazoid janitor named Donny, played once again with unbridled enthusiasm by the one and only Giovanni Ribisi. These men are after the teddy bear, determined the court will rule against Ted and declare him property, thereby making it legally safer for Hasbro to abduct the toy and use him in experiments to see if they can recreate his lifelikeness in other bears. It’s up to, who else, the stoner lawyer and her newfound friend John to save the bear from danger and then also get him legally declared a person before the film reel runs out. Ted 2 stuffs a lot in and not all of it works, but on the whole this sequel charms just as much as the stuff(ing) upon which it is based.

Recommendation: I never would have thought I’d be here justifying another round of teddy-bear-related hijinks but here I am doing just that. Ridiculous. On that ground alone, MacFarlane’s third feature film directorial effort should be labeled a success. If you laughed at the first one, you’ll likely have a good time with this, even though it in no way demands to be seen in theaters.

Rated: R

Running Time: 115 mins.

Quoted: “Did you hear that? You’re covered in rejected black men’s semen. You look like a Kardashian.”

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

Inherent Vice

Posted on January 13, 2015 by Tom

Release: January 9, 2015 (limited)

[Theater]

Written by: Paul Thomas Anderson

Directed by: Paul Thomas Anderson

The Andersonian school of thought is that one ought to at least work a little for their entertainment. A movie featuring a bunch of booze, bongs and babes doesn’t seem like it would be hard to follow along with, but if you don’t know Anderson then know this: the undertaking is going to be inherently complex.

You know when you are being told that story about someone that knew someone else by way of their sister’s bestie who had a rude neighbor and it was that neighbor’s uncle who was important — and by the time Uncle has factored in to the story your attention is well on its way out the door? A similar phenomenon has been known to occur with this already infamously meandering tale about sex, drugs, a lot of paranoia and a little Private Eye-ing.

I suggest passing on this joint if you are the type to tune out of the Uncle anecdote before we even get to the Neighbor. For there are a whole lot of people to meet, an even greater pile of Hindu Kush to burn through and a sea of narrative drift and perhaps indulgently long takes to overcome before arriving at a conclusion that really doesn’t deliver much in the way of closure.

Joaquin Phoenix is tapped to portray a character in a story everyone thought impossible to adapt to the silver screen. Though the buzz has morphed into something else now: the adaptation is possible but perhaps not without throwing a lot of people, the stoned and the sober alike, into confusion after one too many character introductions. But let’s start from the beginning. Doc Sportello is awoken on his surf-side couch in southern California by the sudden reappearance of his ex, Shasta Fay Hepworth (Katherine Waterston), who tells him she’s got a new boyfriend.

The new Mr. Wonderful is someone of fair prominence, a shady real estate developer named Mickey Wolfmann (Eric Roberts). There is a plot, either perceived or actual — just like a great many other situations at hand here — by Wolfmann’s wife (Serena Scott Thomas) and her extra-somethin’-somethin’ (Jordan Christian-Hearn) to have Mickey institutionalized for his wanting to join a clan of neo-Nazis, despite his being brought up Jewish.

This appears to be mission numero uno. On top of this, however, a smorgasbord of subplots start working their way into the fold, including one involving one of Mickey’s bodyguards, who currently owes a lot of dough to some thug named . . . ah, what’s the use with names . . . the guy is played by Michael Kenneth Williams. When Doc goes to investigate the bodyguard’s whereabouts he stumbles upon not a private home but a brothel; when he’s knocked unconscious there he awakens not to the sight of two beautiful girls fighting over his stash of smokable items but rather a disgruntled right-wing, anti-hippie detective named (this one’s important) Christian “Bigfoot” Bjornsen (an absolutely hilarious Josh Brolin) who demands he tell him who killed the bodyguard. And, who is responsible for the recent disappearance of Wolfmann and Shasta Fay.

Ding-ding-ding. Suddenly the priorities change for Doc. But first, another puff. Given the news of his “ex old lady,” he plunges himself deep into the murky waters of the So-Cal beach scene of the early ’70s, a scene that’s loath to obfuscate the difference between acceptable and unacceptable lifestyles — weed is for losers guys, but not cocaine — and assorted other addictions. Doc is a fish-out-of-water 9 times out of 10 as he’s high 10 times out of those same 10, possessing a kind of nonchalance that manifests more often as befuddlement. And of course Bigfoot, himself a former hippie but now more interested in gaining power and prestige, has a field day taking apart and putting back together the cliché that is Doc Sportello.

Behind the year’s best mutton chops lies a surprisingly perceptive private investigator, and a remorseful ex-boyfriend. Though the complexities of Inherent Vice don’t make it easy to access anything on a very deep level, Doc is easy to love. His life choices probably aren’t acceptable to many but when compared to the filth and squalor surrounding him, a misery that encrusts itself upon these shores like barnacles on a ship hull, his vices feel harmless. As Doc works alongside Bigfoot as a favor to him rather than being converted into an informant as requested, he is aided in the unraveling of this seemingly never-ending yarn by a true friend in Sauncho Smilax (Benecio del Toro), a man posing as a criminal lawyer.

There is no point in being vague: I did not understand or keep up with everything that went on during this incredibly sprawling investigation. I could have honestly benefitted from reading the book but there’s something about being confined in a theater chair, completely engrossed by what you’re watching without really any sense of direction or a clear path to the end. Inherent Vice is mesmeric in its ambition. Poetic in its cinematography; entertaining by virtue of its thematic depravity.

Ultimately and unfortunately, not an experience everyone will get high off of though.

Recommendation: Fans of Paul Thomas Anderson, we may not have the most coherent film ever but this is quite intentional. Readers of DSB, this is also not the most coherent review ever either. Intentional? I think not. This is a damned hard film to describe and I actually really dig that about it. The fundamentals are there for me: stunning cinematography, solid performances enhanced by an incredibly entertaining wardrobe selection, humor, an interesting plot and a hell of an atmosphere. If any of that appeals, hit this one in theaters while you can.

Rated: R

Running Time: 148 mins.

Quoted: “Doc may not be a ‘Do-Gooder,’ but he’s done good.”

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

TBT: Fast Times at Ridgemont High (1982)

Posted on August 7, 2014 by Tom

The dog days of summer are upon us. It’s August, and that means back to school for some and the vacations are mostly over for the families who have been basking in the glorious summer sun (though I look forward personally to some more reasonable temperatures. . . we pasty-skinned Brits burn just embarrassingly easily). Yes, August is the one month pretty much everyone aged 10 – 22 sort of thinks is a major buzzkill. But it’s not all bad news, when you think of some of the good old back-to-school (or even just school-related) flicks that have graced our screens over the years. Though they all pretty much boil down to the typical coming-of-age tale, who’s to say that’s not perfectly acceptable escapism from what really lies around the corner. . . . ?

Today’s food for thought: Fast Times at Ridgemont High.

Hanging with Mr. Hand after hours since: August 13, 1982

[DVD]

Oh, to be young and Spicoli again.

I wonder if that’s what Sean Penn thinks every time he glances back on this role (I don’t know what says he does, but humor me for a second, would ya?). . . .if he thinks this role in particular was his true blue Oscar. Truth be told, it is actually difficult picturing a stoner role landing the big whale in February but if there ever were a person. . .a character who came close, I’d say it’d be Penn’s righteously blown-out pot-smoking slacker.

No doubt he’s a highlight, but fortunately Penn’s representative of only one portion of the total population. Granted, his clique might be one of the more amusing and entertaining to hang with, but it’s a credit to the considerations of writer Cameron Crowe and director Amy Heckerling (Clueless) that the story is filled with so much more, so many more different avenues that collectively create the high school experience. Sure, the decades have changed, but we all know the biggest thing that has affected is the hairstyles.

There’s something deeply true and honest about this immersive experience, something that goes beyond the dynamite chemistry between the vacuous Spicoli and the dreaded English teacher, Mr. Hand. In fact, I’ve got you covered. Here are (the) five reasons this classic is already in your collection (and if it isn’t, well then you’ve got your next project to work on. Rent it, and pronto Tonto!) . . . because, well, let’s face it. Not only are these five images amazing moments from the film, they do quite a thorough job pinning the high school population down to its core groups:

Spicoli vs Mr. Hand (Ray Walston) These two have a very special relationship. Spicoli is not only one of Ridgemont’s most notorious pot-heads, he’s always late to class, a fact that never sits well with the disciplinarian Mr. Hand. Love ’em, hate ’em, but you just can’t get rid of ’em — the lazy student who always provides the rest of the class entertainment with his combative form of self-expression, and the teacher who is seemingly out to get everyone and make the semester hell. They make an entertaining combo for the film as well as prove to be a compelling example of teacher doing his job, while World’s Worst student learns the same about him. There’s beauty in the mutual respect they end up stumbling upon.

Quoted: “You dick!”

Mike Damone (Robert Romanus) vs Unplanned Pregnancy Everyone knows a Damone — a lone wolf, the tough guy in the crowd. . .and, okay, so the one you know may not scalp movie tickets but this guy you know has similar schemes. He’s mostly a decent guy who has been endowed with the gift of gab and as such, fancies himself a ladies’ man. A bit misled, sure, but his constant confidence makes you feel good about not only yourself but the times you spend with him. However, is this the kind of dude who sticks around for the harder times? Is there more underneath, or is this just what you get — just a good-looking façade?

Quoted: “I mean, don’t just walk in. You move across the room. And you don’t talk to her. You use your face. You use your body. You use everything. That’s what I do. I mean I just send out this vibe and I have personally found that women do respond. I mean, something happens.”

Charles Jefferson (Forest Whitaker) vs the Lincoln High football squad After Spicoli wrecks the crap out of Ridgemont’s star athlete’s beautiful Camaro during a joy ride, it’s all Spicoli can do to hide the fact it was him responsible, so in a panic he disguises the accident as an intentional act on the part of a rivaling high school football team. This causes Charles to fly into a rage, injuring several players in their next game in the process. True, there may be some sort of personality lurking deep inside, but you best not come across this jock after his most valuable possession has just been destroyed. We all have that special thing we can’t afford to lose. For most of us, though, that ain’t a Z-28.

Quoted: [forget the quote. Watch this clip.]

Brad vs. Linda in Stacy’s bathroom Poor Brad’s had a heck of a senior year. Lost his job because of an obnoxious customer. Lost his second job because they made him wear a pirate costume (and also deal with obnoxious customers). Lost his girlfriend Lisa in the crossfire, and when he gets caught, shall we say. . . sorting something out in the bathroom at Stacy’s, he essentially loses his pride. But Brad’s not a bad guy, he’s just going through a rough phase and wants out of it, now. Who can’t identify with this feeling?

Quoted: “Mister, if you don’t shut up, I’m going to kick one hundred percent of your ass!”

Mark (Brian Backer) /Stacy (Jennifer Jason Leigh) vs Sexual Tension Without a doubt, here’s the pair that come the closest to anchoring the romantic component of those four angst-y, awkward years. Neither Mark nor Stacy have much of a clue when it comes to dating and romance, so when their respective friends Damone and Linda give them a few pointers, all bets are off when it comes down to taking friendly advice or doing what they both feel is the natural thing to do. They’re both sweet and charming and you’d be hard-pressed to find someone who can’t find something of their self in these two lovebirds.

Quoted: “You know Damone I always stick up for you. They say oh, Damone that loud mouth — and they say that a lot. I say ‘Oh, no you just don’t know Damone.’ I mean when they call you an idiot, I say Damone’s not an idiot. Well, you know something maybe they know you pretty good. Maybe I’m just starting to find out.”

Recommendation: Fast Times at Ridgemont High is a staple of the early ’80s. While it hardly breaks free of its fair share of era clichés (well, I guess they’re more like stereotypes at this point), this fast-paced ride sheds light on all corners of the high school experience, carrying an optimistic and truly fantastic energy from start to finish, much in the same vein as The Breakfast Club, Dazed and Confused along with a handful of other lesser-known silver screen signets now owned on home video by millions of children of the ’70s and ’80s. I’m going to sound like a very broken record, but they just don’t seem to make comedies (or movies in general) like this anymore. And at the very bare minimum, see this one for one of Sean Penn’s greatest performances ever in his break-out role as Spicoli. You (probably) won’t be sorry.

Rated: R

Running Time: 90 mins.

TBTrivia: Phoebe Cates’ reaction face in the above image is very, very real and natural. Fortunately, the thing she is reacting to is not. . .so much. . . .

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

Thomas J

My Journey Through Film

Tag Archives: #weed

The Gentlemen

Ted 2

Inherent Vice

TBT: Fast Times at Ridgemont High (1982)