You know the best cure for a St. Patrick’s Day hangover? The Rock. That’s what he told me, anyway, and who am I to argue? His better-than-expected Jumanji comes out this week, as does the better-than-you-heard Downsizing and the worse-the-third-time Pitch Perfect 3. Let us help you choose.
Helping you separate naughty from nice with this weekend’s movie options, The Screening Room looks at Jumanji: Welcome to the Jungle, Pitch Perfect 3, Downsizing, Darkest Hour, The Greatest Showman as well as your new options in home entertainment. Join us!
Word is, writer/director Alexander Payne has had the Downsizing idea for years, apparently waiting for when a satire of endless greed and unapologetic self-interest would feel the most relevant.
Good timing, then.
Payne, working with frequent co-writer Jim Taylor, returns to the political mindset he showcased so effectively in the classrooms of 1999’s Election. Here, their palette is a not-at-all distant future where science has come up with a solution for global sustainability: shrinkage!
By reducing people and communities to a ratio of 2.744 to 1, the potential for a guilt-free good life is off the charts! That sounds pretty great to Paul and Audrey Safranek (Matt Damon and Kristen Wiig), and a hilariously obnoxious info-mercial (Lauren Dern and Neal Patrick Harris, killing it) seals the deal.
Of course, it isn’t long before human potential meets human nature, familiar class systems develop and, as Paul’s smarmy neighbor (Jason Sudeikis) points out, getting small becomes more about saving yourself than saving the planet.
For three quarters of the film, the satirical slings and arrows find frequent marks, and layers deepen when Paul starts hanging with a crazy new neighbor (Christoph Waltz) and his cleaning lady (Hong Chau, in an award-worthy, film stealing performance).
Payne and Taylor aren’t as sure-footed when the satirical tone gives way to the absurd, or when a budding pretense makes the opening of a white man’s eyes feel a bit too heroic.
But while the scale of Downsizing is small, the film is thinking mighty big. The new world it envisions is engaging, with sharp comedy, unexpected turns and the keen observational structure to make it all impactful.