Returning some DVDs, I asked mum (who was staying) if she had any requests. Something funny and romantic was the request. I have a confession (maybe you've worked this out already) - I don't like chick flicks. At least, not very much. Does Chicago count? Anyway, especially right now, I can't deal with people falling in love with each other on my tv screen. I came home with 3 that sort of fit into the romantic comedy genre, and after a very scientific behind-my-back shuffle, we watched Flypaper that night. And it was about as un-romantic as a romantic comedy can be. I enjoyed it very much - and so did mum, if you're wondering.
The main protagonist is a Sherlock Holmes-type of character. I liked him immediately. Actually, I'd put this comedy as a cross between Sherlock Holmes and Ocean's 11 - both movies up there on my favourites list. I'm still working on the relationship analogy, but I'm sure it's out there. And - for the record - I found this a much more acceptable path to a relationship than what I often see (and, for example, in Beautiful Lies). Basic plot: the Sherlock Holmes sort (okay, Tripp - played by Patrick Dempsey) is in the bank and gets caught in the middle of two bank heists, one professional and one very unprofessional. And finds himself attracted to a teller (played by Ashley Judd). This movie has a decent dose of problem solving (ooh! my favourite!) and a matching dose of comedy. One bank heist team is very professional (hence the Ocean's reference); the other ... not so... More like the comic relief. But the professional lot are being sorely tried, at first by the incompetent lot, and then by the pressures of decades of bank heists. Stereotypes go out the window.
Another aspect I relished was the concept of all those carefully laid plans going awry. The mastermind behind the whole thing (really trying to avoid spoilers here) had so much planned, like a chess player - but, in a bank robbery during business hours, you can't predict the actions or thoughts of the bank customers. And even if the mastermind had predicted or relied upon typical, or even slightly outside the square, reactions, having someone like Sherlock Holmes present shakes things up somewhat.
The movie had a few areas of predictability, but so many other maybes that the predictability is not so noticeable. It was like watching a long episode of a crime show. One that has comedy writers on deck. Aside from all the funny stuff, though, it does touch on what we do and why we do it (couldn't just leave you with no deep commentary here). Sometimes it's because we're drawn to it for whatever reason (like the explosions), or discover in ourselves an unusual, highly sought-after skill (like being cool under the pressure of blowing up a safe). Sometimes it's because we can trace a long lineage of similar selves (having seen this movie, that now gives me a giggle every time, and I won't spoil it). And sometimes we just know we can get away with it. And no, I won't spoil that one for you.
Showing posts with label comedy. Show all posts
Showing posts with label comedy. Show all posts
Saturday, 15 June 2013
Monday, 10 June 2013
Movie #37 - Beautiful Lies
I had an urge recently to watch a French movie. A trip to the movie store provided me with Beautiful Lies, a comedy starring Audrey Tatou. Such a good choice, and I watched it a second time with my mum. When reading the back cover, I was struck by 2 similarities to Amelie (which was my fallback option if nothing took my fancy). 1 - Amelie/Emilie. 2 - both characters are trying to help other people. Oh, and they both fall into the love story department. Some other thoughts:
This is about family relationships, and personal relationships, with a love triangle thrown in for good measure. A daughter trying to boost her mother's mood, increase her self-esteem so she can deal with what's to come. A daughter trying to make her mother into an approved version, no longer embarrassing to her. A mother trying to mourn the ending of her relationship (even 4 years on), be sad when she wants to be, enjoy what comes her way. A man who loves the daughter but sees the goodness in the mother. A man who wants to please, who is very human, emotionally and intellectually intelligent. And all of them show, to varying degrees, how our preconceived hurts can affect our responses in new situations.
Of the 3 main characters, I like the mother the best. That said, I can really understand why Emilie reacts the way she does. And for all I don't really like Emilie's character (after the fabulous opening, my next impression was that Jean is wasting his affection), her intentions regarding her mother are good, and she was put in an awkward position by a cowardly father. Actually I rather like Jean too. It's just he is so stupidly in love with Emilie - I associate that behaviour more with females but it doesn't mean I like it. It's such a relief when his true colours shine through, his intelligence and kindness and integrity. Maddy (the mother) is the sort of person I can see myself becoming. And that's not all a good thing, but a recognition of my personality and the knowledge that all women become their mothers.
There are 2 strong support roles - Sylvia, the salon co-owner; and Paulette. I'd actually (gasp) forgotten her until I rewatched with mum. She is fabulous. Highly strung, wanting to be nice to people and do the right thing, reminiscent of Luna Lovegood in the Harry Potter series - I'd be happy to watch a movie with her story as the lead. She has some of the best lines!
Emilie has a wardrobe akin to what I'd like my wardrobe to be. She was pretty skinny in this, though. Actually, apart from the mother's mad dash into town in her nightie, and her "I'm sad" clothes, the wardrobe in this is ... I'm having trouble finding a word. I want it. That is all. One of the best lines is about clothes. Emilie is frustrated by her mother's depressed mood and says to her, "Look at you! It's spring, and you're in sweatpants!". So French.
I laughed so much in this, and it's not often I'm ready to watch a movie again within a matter of days. The music is just right, the scenery rather delightful (French Mediterranean), and did I mention the clothes? Yeah. However... After both viewings, I was quite upset. Not as the credits were rolling, but later. I still don't quite understand Jean's love for Emilie, and how she managed to redeem herself in his eyes. Maybe being that beautiful just changes all the rules of life. Or maybe I missed something vital both times. Although maybe having someone beautiful fall in love with you might change how you feel about them.
This is about family relationships, and personal relationships, with a love triangle thrown in for good measure. A daughter trying to boost her mother's mood, increase her self-esteem so she can deal with what's to come. A daughter trying to make her mother into an approved version, no longer embarrassing to her. A mother trying to mourn the ending of her relationship (even 4 years on), be sad when she wants to be, enjoy what comes her way. A man who loves the daughter but sees the goodness in the mother. A man who wants to please, who is very human, emotionally and intellectually intelligent. And all of them show, to varying degrees, how our preconceived hurts can affect our responses in new situations.
Of the 3 main characters, I like the mother the best. That said, I can really understand why Emilie reacts the way she does. And for all I don't really like Emilie's character (after the fabulous opening, my next impression was that Jean is wasting his affection), her intentions regarding her mother are good, and she was put in an awkward position by a cowardly father. Actually I rather like Jean too. It's just he is so stupidly in love with Emilie - I associate that behaviour more with females but it doesn't mean I like it. It's such a relief when his true colours shine through, his intelligence and kindness and integrity. Maddy (the mother) is the sort of person I can see myself becoming. And that's not all a good thing, but a recognition of my personality and the knowledge that all women become their mothers.
There are 2 strong support roles - Sylvia, the salon co-owner; and Paulette. I'd actually (gasp) forgotten her until I rewatched with mum. She is fabulous. Highly strung, wanting to be nice to people and do the right thing, reminiscent of Luna Lovegood in the Harry Potter series - I'd be happy to watch a movie with her story as the lead. She has some of the best lines!
Emilie has a wardrobe akin to what I'd like my wardrobe to be. She was pretty skinny in this, though. Actually, apart from the mother's mad dash into town in her nightie, and her "I'm sad" clothes, the wardrobe in this is ... I'm having trouble finding a word. I want it. That is all. One of the best lines is about clothes. Emilie is frustrated by her mother's depressed mood and says to her, "Look at you! It's spring, and you're in sweatpants!". So French.
I laughed so much in this, and it's not often I'm ready to watch a movie again within a matter of days. The music is just right, the scenery rather delightful (French Mediterranean), and did I mention the clothes? Yeah. However... After both viewings, I was quite upset. Not as the credits were rolling, but later. I still don't quite understand Jean's love for Emilie, and how she managed to redeem herself in his eyes. Maybe being that beautiful just changes all the rules of life. Or maybe I missed something vital both times. Although maybe having someone beautiful fall in love with you might change how you feel about them.
Saturday, 20 October 2012
Movie #26 - Greenberg
At the end of the holidays, I borrowed 3 movies - 2 dramas, and a comedy. Unfortunately, it wasn’t a very funny comedy.
Starring Ben Stiller, it was billed as his best work or something. Romantic comedy and all that. It had a few funny bits, some insightful comments, but... About three quarters of the way through, I was thinking this has gone on long enough. Thankfully my mum called, we had a nice long chat, and then I had to get back into it.
My main problem with this movie (apart from its inordinate length) was the unexplained attraction between Roger (Ben Stiller) and Florence (Greta Gerwig). He’s an obnoxious twat still living in the past, and she’s 15 years younger than him and still trying to work out what her life is to be. The only thing I can work out is that she’s attracted to his wounded older man persona, and (to be blunt) he’s attracted to her boobs. And her eagerness to be with him.
There were some interesting ‘former shrink’ comments, but mostly I felt like I lived on a different planet. Not that this is an unusual feeling for me, but it was even more pronounced watching this movie.
More interesting (but still, not comedy) was the interaction between Roger and his former friends. They’d been in a band, and Roger had dreamed bigger than the rest... which had caused a lost opportunity and a whole lot of bitterness between the friends. Not really friends anymore. The rest of them have done the 'grown up' things, getting married and having kids. Roger comes back (from years in New York) and expects everyone else to be where they were so many years ago. The sentence that really struck me was from his closest friend Ivan (Rhys Ifans - yes, all I could see was him waving to the paparazzi in off-coloured Y-fronts): It’s huge, to finally embrace the life you’ve never planned on.
And this is something that has been on my mind a lot lately. This statement has remained with me. For everything else though - thumbs down.
Today's photo:
A bit blah. The bottlebrushes have been enjoyed by the local parrots, leaving far less bushy flowers behind.
Starring Ben Stiller, it was billed as his best work or something. Romantic comedy and all that. It had a few funny bits, some insightful comments, but... About three quarters of the way through, I was thinking this has gone on long enough. Thankfully my mum called, we had a nice long chat, and then I had to get back into it.
My main problem with this movie (apart from its inordinate length) was the unexplained attraction between Roger (Ben Stiller) and Florence (Greta Gerwig). He’s an obnoxious twat still living in the past, and she’s 15 years younger than him and still trying to work out what her life is to be. The only thing I can work out is that she’s attracted to his wounded older man persona, and (to be blunt) he’s attracted to her boobs. And her eagerness to be with him.
There were some interesting ‘former shrink’ comments, but mostly I felt like I lived on a different planet. Not that this is an unusual feeling for me, but it was even more pronounced watching this movie.
More interesting (but still, not comedy) was the interaction between Roger and his former friends. They’d been in a band, and Roger had dreamed bigger than the rest... which had caused a lost opportunity and a whole lot of bitterness between the friends. Not really friends anymore. The rest of them have done the 'grown up' things, getting married and having kids. Roger comes back (from years in New York) and expects everyone else to be where they were so many years ago. The sentence that really struck me was from his closest friend Ivan (Rhys Ifans - yes, all I could see was him waving to the paparazzi in off-coloured Y-fronts): It’s huge, to finally embrace the life you’ve never planned on.
And this is something that has been on my mind a lot lately. This statement has remained with me. For everything else though - thumbs down.
Today's photo:
Sunday, 26 February 2012
Movie #8 - Hot Fuzz
I can't believe I haven't seen Hot Fuzz before now. In fact, at the end of the movie, I asked my brother why he hadn't made me watch it sooner. "I don't know... I didn't think it was your sort of movie - it's quite a bloke sort of movie". Well, yes. But I grew up with 3 brothers. I'm not the oldest. Therefore, I grew up watching bloke movies.
Thankfully, I was warned about the violence to the hand at the start. There is enough warning before all the murders (sorry, murrrderrrrs) that if you're squeamish you have plenty of warning of impending blood and gore. And essentially, this is a crime movie. I love watching and reading crime.
There was the added delight of seeing so many familiar British acting faces. The early scenes were dominated by my squeals of "ooh, it's that stripper guy!!!" (well, not really - the body double for the naked scenes, as seen in Love Actually), "that's Bridget Jones' dad!" and "oh, him!". Plus, it's really funny. Nicholas Angel is so black and white, but those in Sandford are wonderfully obtuse - until they surprise you by being brilliantly observant about something. Little wonder why the last guy had a nervous breakdown. Unfortunately, there was no option for subtitles, so I didn't quite grasp all the dialogue of northern England when they were not right in front of the camera. Fortunately, I watched it with someone who has seen this a lot, and has a really good memory for words.
Once you get to the bottom of why all these murrrderrrrs are occurring, it gets quite deep. Spoiler alert: people who are not conforming to the village's style are getting whacked by those in the Neighbourhood Watch Association. Gated communities, strict body corporate laws and Jasper Fforde's Shades of Grey all spring to mind. (Incidentally, the Jasper Fforde connection leads me to his Jane Eyre books. Timothy Dalton plays a villager here, and was also Rochester in the early 80s BBC tv series of Jane Eyre, which I saw from the living room doorway when I was meant to be asleep and had horrific nightmares because of it). So at first it might seem totally fine to ask everyone to keep their lawns neatly trimmed and their houses in the same rustic style as the village, but how far do you go to keep everyone playing by the same rules? Once you have that Best Village award it must be hard to contemplate not being the Best Village. And yes, dealing with the problem-makers early on prevents dealing with them again and again. But a conformist village is a boring village, and there is always something going on.
Thankfully, I was warned about the violence to the hand at the start. There is enough warning before all the murders (sorry, murrrderrrrs) that if you're squeamish you have plenty of warning of impending blood and gore. And essentially, this is a crime movie. I love watching and reading crime.
There was the added delight of seeing so many familiar British acting faces. The early scenes were dominated by my squeals of "ooh, it's that stripper guy!!!" (well, not really - the body double for the naked scenes, as seen in Love Actually), "that's Bridget Jones' dad!" and "oh, him!". Plus, it's really funny. Nicholas Angel is so black and white, but those in Sandford are wonderfully obtuse - until they surprise you by being brilliantly observant about something. Little wonder why the last guy had a nervous breakdown. Unfortunately, there was no option for subtitles, so I didn't quite grasp all the dialogue of northern England when they were not right in front of the camera. Fortunately, I watched it with someone who has seen this a lot, and has a really good memory for words.
Once you get to the bottom of why all these murrrderrrrs are occurring, it gets quite deep. Spoiler alert: people who are not conforming to the village's style are getting whacked by those in the Neighbourhood Watch Association. Gated communities, strict body corporate laws and Jasper Fforde's Shades of Grey all spring to mind. (Incidentally, the Jasper Fforde connection leads me to his Jane Eyre books. Timothy Dalton plays a villager here, and was also Rochester in the early 80s BBC tv series of Jane Eyre, which I saw from the living room doorway when I was meant to be asleep and had horrific nightmares because of it). So at first it might seem totally fine to ask everyone to keep their lawns neatly trimmed and their houses in the same rustic style as the village, but how far do you go to keep everyone playing by the same rules? Once you have that Best Village award it must be hard to contemplate not being the Best Village. And yes, dealing with the problem-makers early on prevents dealing with them again and again. But a conformist village is a boring village, and there is always something going on.
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