Stars: Mila Kunis, Kristen Bell, Kathryn Hahn, Christina Applegate
Release date: August 11th, 2016
Distributor: STX Entertainment
Running time: 100 minutes
Best part: The leads’ chemistry.
Worst part: The love-interest sub-plot.
Gender equality in Hollywood: four words guaranteed to cause discussion. Pioneering actresses, directors, and writers have spoken about the pay gap, better roles and more opportunities. From Meryl Streep to Jennifer Lawrence, women are taking over tinseltown. If Bad Moms says anything, A-list actresses are already taking over mainstream comedy.
Bad Moms follows in the tradition of movies with ‘bad’ in the title. It begins with young mother Amy Mitchell (Mila Kunis) struggling to balance kids, work, marriage and everything in between. Her manchild husband and two children, Jane (Oona Laurence) and Dylan (Emjay Anthony), make matters hellish. One day, after a shocking revelation and an even worse day after, Amy quits the modern-working-mother lifestyle. Befriending frantic stay-at-home mum Kiki (Kristen Bell) and slutty layabout Carla (Kathryn Hahn), Amy discovers that it feels good to be bad. However, Parent Teacher Association head-honcho Gwendolyn (Christina Applegate), and her sidekicks Stacy (Jada Pinkett Smith) and Vicky (Annie Mumolo) plan on ruining the fun.
Bad Moms criticises everything cruel and demeaning about Hollywood. On the heels of Bridesmaids and Ghostbusters, it’s another example of big-screen female prowess. Writer/Directors Jon Lucas and Scott Moore, part of the Hangover trilogy, expertly balance relatable character beats and R-rated hijinks. The opening showcases the working-mother’s everyday obstacles. Amy is continually run off her feet; late for everything and underappreciated by everyone. Like most Hollywood comedies, the first half is chock-a-block with stupid and unlikable supporting characters. Of course, the movie’s intended goal is to switch on-screen gender stereotypes. However, the male and child roles are borderline offensive. Amy’s dalliance with widowed dad Jessie (Jay Hernandez) survives on the actors’ chemistry.
It provides a touching message about motherhoods’ highs and lows. Despite their drastic turns, our lead characters are never unlikable or unhinged. Its endless montages and girl-power moments are wholly infectious. The supermarket sequence is hysterical. Shot in slow motion, our dynamic trio performs a series of heinous atrocities to food, drinks and staff members. In addition, the house party scene provides gross-out humour and unexpected surprises. The movie relies on Kunis, Bell and Hahn’s more-than-capable shoulders. Kunis balances frazzled and snarky with aplomb. Her sharp comedic timing and charming smile fit the character. Bell, known for tough-chicks in series’ Veronica Mars and House of Lies, is delightfully twee. Hahn propels herself into A-list status; delivering laugh-out-loud bites as an irresponsible badass.
Bad Moms is a sweet, carefree chick flick and intelligent, gross-out farce. Kunis, Bell, Hahn and everyone else elevate such harmless material. The writer-directors’ grand comedic timing makes for a pleasant time. Above all else, the closing credits sequence adds a nice touch.
Stars: Jason Bateman, Tina Fey, Jane Fonda, Adam Driver
Release date: October 23rd, 2014
Distributor: Warner Bros. Pictures
Running time: 103 minutes
Best part: The dynamic cast.
Worst part: The tedious gross-out gags.
Hollywood’s latest home-for-the-holidays venture, This Is Where I Leave You, strives to speak to, and for, the masses. Promising relatable situations and interesting characters, this big-budget dramedy strains and creaks whilst grounding itself. Crafting a slicker-than-shoe-polish version of reality, these movies, despite their commendable intentions, never convince. How can they be realistic, anyway? They feature ultra-wacky set pieces and ultra-popular celebrities. Even character-actor Corey Stoll, seen in the background of several recent movies and TV shows, has more money than everyone in Kansas combined.
Jason Bateman, Tina Fey, Corey Stoll & Adam Driver.
Fuelled by Kings of Leon, American Authors, a relatable concept, and a starry cast, TIWILY‘s egregious marketing campaign highlighted the broad appeal. Given these actors’ big-and-small-screen successes, the formula seemed destined for positive results. The poster, plonking each big-name next to one another, sums up modern entertainment’s pros and cons. Sadly, the words “formula” and “conventional” linger throughout the final product. The movie, the latest in a series of familial dramedies, isn’t any better or worse than August: Osage County or The Judge. Like the aforementioned celluloid distractions, this dramedy’s reach drastically exceeds it grasp. The story kicks off with a wholly fantastical version of New York City. Judd Altman (Jason Bateman) is a radio station manager living the dream. Coming home early from work, he’s shocked to discover his wife Quinn(Abigail Spencer)’s year-long affair with Judd’s favourite shock-jock/boss Wade (Dax Shepard). After three months of excessive remorse, heartache, and beard-growing, the newly divorced Judd is informed of his dad Mort’s passing. The Altman family – rounded out by matriarch Hilary (Jane Fonda), Judd’s sister Wendy (Tina Fey), older brother Paul (Stoll), and youngest Philip (Adam Driver) – come together for the funeral. As per Mort’s last request, the family must sit Jewish mourning custom Shiva. Stuck in their old home for seven days, the Altman’s past and present quarrels collide. Amongst the chaos, several key players show up to further elevate or deflate each family member.
Jane Fonda & Debra Monk.
Based on Jonathan Tropper’s book of the same name, TIWILY feels like an all-too-literal adaptation. Handing screenplay duties over to Tropper, the movie seemingly utilises every page to fill its 103-minute run-time. The original material, perfect for novel length, is lugubriously laid out across this cumbersome script. Like many dramedies, there’s way too much going on. Throwing in more sub-plots and characters than needed, the narrative’s top-heavy structure wains half-way through. The quiet parts, despite straining against the movie’s glorious sheen, deliver subtle and genuine moments. Certain character interactions, bolstered by its engaging cast and witty dialogue, are almost worth the admission cost. Several sequences work efficiently, depicting insults and stories thrown between troubled by fun-loving people. However, crushed under the narrative’s immense weight, the central plot-strands lack emotional weight or sustenance. Bumping into school friend/manic pixie dream girl Penny (Rose Byrne), Judd’s story-line is predictable, soulless, and tepid. Drowning in an ocean of A-listers, montages, and clichés, Bateman explores yet another sad-sack character. This dramedy – lacking the class, bravado, and cockiness of Arrested Development – adds to the comedic actor’s post-TV slump. However, thanks to quick-wit and charisma, the nice-guy lead delivers a measured performance. In fact, Judd, despite his conflict’s tiresome twists and turns, is the most likeable and intriguing character. The surrounding family members, defined by specific traits (new breasts, baldness, immaturity etc.), are mean-spirited and one note.
“It’s hard to see people from your past when your present is so cataclysmically screwed up.” (Judd Altman (Jason Bateman), This Is Where I Leave You).
Director Shawn Levy (the Night at the Museum series, The Internship) applies his hack-and-slash style to this subdued dramedy. Levy – whose filmography includes Cheaper by the Dozen, the Pink Panther remake, and Real Steel – isn’t known for intelligence, verve, or sensitivity. Touching on adultery, familial strife, and religion, its concepts construct only silly scenarios and corny ramblings. Despite the premise, the family’s Jewish heritage is picked up and dropped without warning. Certain sequences, despite the lack of consequences or emotional resonance, deliver big laughs and nice moments. Getting high in a synagogue, Bateman, Stoll, and Driver’s characters deliver comedic and dramatic shades. Also, Fonda’s ever-lasting figure is given significant attention. Playing an open-minded writer/therapist, Fonda charges through the role. The movie serves to boost its actors’ career trajectories. Fey, known for writing and leading better comedic material, excels despite her underwhelming and manipulative sub-plot. Contending with old-flame Horry (Timothy Olyphant) (suffering permanent brain damage from an accident several years earlier), her character’s conflicts deserve more development. In addition, Phillip’s sub-plot – fighting to keep his relationship with older girlfriend/therapist Tracy (Connie Britton) going whilst fighting off former conquests – serves to kickstart slapstick gags and wild misunderstandings. Furthermore, Paul and his zany wife Annie(Kathryn Hahn)’s attempts to conceive yield even-more-implausible set pieces. Despite the misjudged material, character-actors Debra Monk and Ben Schwartz get enough time to shine.
Biting off much more than it can chew, TIWILY is hindered by a lackluster filmmaker and tiresome screenplay. Tropper, despite handing his own material, misjudges the adaptation process. Crafting too many story-lines, characters, and twists, the book-to-film translation lacks joy, weight, or warmth. Despite the distasteful, A-listers-pretending-to-be-normal phoniness, the cast succeeds. Bateman, despite playing yet another down-on-his-luck loner, is charming and affable. Meanwhile, Fey, Stoll, Fonda, and Driver craft entertaining moments. Ultimately, this self-conscious effort never surprises, inspires, or even convinces. Welcome to Hollywood!