Tag Archives: Hope Madden

Glen Baby Glen Ross

The Boss Baby

by Hope Madden

Imaginative only child Tim (Miles Christopher Bakshi) loves his life. He loves to play with his mom (Lisa Kudrow) and dad (Jimmy Kimmel), loves to have adventures, and loves to go to sleep after his three favorite stories, five hugs and one special song.

All that changes when his little brother (Alec Baldwin) arrives. Why can’t his parents see that this stranger in their home is all manner of wrong?

Tim’s right – there is something up with the wee one. Baldwin’s Baby has been sent to Tim’s house to infiltrate a pet company. Why? Because puppies are so darn cute, people might want to stop having babies and just get puppies.

Things get considerably more convoluted from there.

Marla Frazee’s children’s book The Boss Baby is a clever metaphor brought to life. There’s a new boss in the house, and he is a total baby. Cute.

It was Michael McCullers’s unfortunate task to turn Frazee’s couple dozen lines into a screenplay that would take up approximately 90 minutes. That leaves an awful, awful lot of space to fill with McCullers’s imagination, and that brain takes us in some weird directions.

The film’s foundation combines ideas from the recent animated mediocrity The Secret Life of Pets and Storks. Plus there’s a surprisingly good dose of The Office tossed in there, and, of course, some Glengarry Glen Ross.

But still, there is more time to kill.

How shall we fill it?

How about with Elvis impersonators? Lots of poop jokes? An evil Mrs. Doubtfire? Pacifier acid trip? Maybe a pot shot or two at designer puppies?

Why not?

As it turns out, The Baby Boss is a very strange and strangely subversive little cartoon.

Many of the jokes are aimed high above the average 3-foot-tall and under crowd, but honestly there’s not a great deal for the tykes to cling to. The story is far too complicated, and the dazzling array of bizarre ornamentation only further confounds viewers.

Maybe you have to settle for the little things. Does Tim learn that there is enough love to share with his baby brother? Does Alec Baldwin say, “cookies are for closers”?

Yes and yes.

Verdict-2-5-Stars

So That Happened…Local Wildlife

Local Wildlife

by Hope Madden

Did you hear the one about the Southern Ohio man who purchased a mountain lion at a flea market and promptly lost it?

The punchline is, that’s a true story.

There are so many things wrong with that sentence I don’t know where to begin.

I was writing a short magazine article on Ohio’s updated exotic pet laws. I got in touch with Terry because I was looking for some kind of counterargument to balance the seemingly reasonable limitations recommended by Columbus’s health department.

Terry sold exotic animals, so the new restrictions would limit his business. They also meant getting rid of his beloved pet Smiley, the 5-foot gator who roamed free through his store.

That wasn’t dangerous?

Terry guaranteed that captive-born animals were harmless, and that garden variety pet stores carried much deadlier wares than anything I’d find in his store. I glanced at the toothy, venomous, cold-eyed whatnot behind glass all around me.

“In fact,” he began, lifting a small box taped for shipping, “what’s in this box here is one of the most dangerous animals you’ll find in this state.”

He shook the box at me for emphasis. I’d had surgery on my left foot and was wearing an orthotic boot, so outrunning a predator seemed unlikely. This suddenly felt like a problem. Then Terry took out a pen and began to tear open the packing tape.

“You can buy these at almost any pet store, and I guarantee they do more damage to the human body than anything I sell.”

Again with the shaking.

Tape gone. Terror rising. Immobility problematic.

It turned out to be a small, non-venomous reptile, bright green and not un-gekko-like but prone to biting. A let down of sorts, but I’m not ashamed to say Terry had scared the living shit out of me.

I’d lost my train of thought due to the anxiety and relief cycle, and when I began paying attention again Terry was telling me that Ohio needed no laws at all to regulate the ownership of exotic animals.

Certain that I’d misheard, I tried to clarify with the most obvious question that sprung to mind.

“What about, like, lions?”

“Most zoos turn to private collectors when they want to acquire a rare exotic.”

“But certainly there are animals that people shouldn’t own.”

“Other people,” he answered. “I mean, you don’t even have to get a license to raise a child, but you need one to own an alligator.”

Wait, but…I mean…children rarely eat you.

Terry went on to tell me of a middle aged man with an intellectual disability whose mother died, leaving him alone with his 8-foot gator and 40 rabbits. The tragedy, in Terry’s eyes, was that the state intervened and made the man give up his gator as well as his rabbits.

Hold the phone – there was an 8-foot gator living in the city of Columbus? Inside city limits?

I’m sorry, did you say 40 rabbits?

What the hell?

Terry went on to share other pet owner misfortunes. In all Terry’s stories, the tragedy is that the owner is separated from his animal. Even in the case of an apartment manager who kept 10 gators in his 2-bedroom basement flat.

Ten.

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The other tenants were unaware.

And you couldn’t trust the state, the health department, the humane society, not even the cops. Terry told the tale of a Cincinnati man infected with rhino venom. I don’t even know what that is, but it sounds nasty, doesn’t it?

Terry maintained that the cop on duty knew of the only stash of rhino anti-venom in the state, and he neglected to share this information, rendering him the Cincinnati man’s murderer.

But the snake is really the killer, right?

“No. The cop knew where the anti-venom was.”

“But, what if he wasn’t the cop on call? Then would the snake have been the killer?”

“But the cop on call knew where to find the anti-venom.”

“But the man’s deadly poisonous snake bit him. Doesn’t that lead you to believe that he shouldn’t have had the snake in the first place? Maybe that poisonous snakes are too dangerous for ordinary citizens?”

“No Ohioan has ever died due to poisonous snake bite.”

“You mean, except that guy in Cincinnati?”

“The cop on call could have saved him.”

“But he did die.”

“But the snake didn’t kill him. The cop did.”

The real villains, as the spreadsheet taped to his stockroom door would prove were I only to hobble past the register to see its evidence, were not the exotics or the cops, but domestic animals. More Ohioans perish due to cattle, horses, and dogs than to venomous snakes, gator bites, or constrictors every year, said Terry.

I’m no rocket scientist, but isn’t that because they’re Ohioans? Cows outnumber people in some areas of this state. What’s the dog-to-constrictor ratio in Ohio, I wonder?

This guy is nuts, I thought to myself as I began the arduous limp-marathon from the front of the store to the door with the statistics. Then, as I passed the register, I met the pet who’d replaced Smiley.

I nearly stepped on an enormous yellow python, piled up on the floor.

Free. Loose. Open for business.

As I halted my one good foot just inches from pissing off a natural predator, my own rarely tapped survival instinct kicked in.

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Hobbling backwards was easier than I’d have guessed.

In fact, hobbling right the fuck out of the store took me basically no effort at all.

Ride or Die

CHIPS

by Hope Madden

How many of you remember that, in 70s cop shows, cars blew up all the time?

Without that knowledge, one of two running jokes in CHIPS will make no sense. The other one – well, you’ll understand it, it’s just not funny.

Neither is much of anything else in writer/director/star/seemingly good guy Dax Shepard’s big screen tribute to the cop show of a bygone era.

Shepard plays Jon to Michael Peña’s Ponch, and the two have to overcome their intimacy issues and crack some case about dirty cops.

Peña’s a talented actor (and a hard worker – the 41-year-old has 83 acting credits). He’s also versatile, easily handling drama or comedy. What he’s not is a lead.

Neither is Shepard. Both actors are likeable enough, amusing enough, but not compelling enough to keep your interest for 100 minutes.

Shepard’s script doesn’t do them many favors, either. The convoluted story offers opportunities for cool motorcycle tricks, and who needs a reasonable plot for a 70s TV spoof? But the laughs aren’t there, the nostalgia doesn’t work, and the film lacks the self-referential humor and off-handed fondness for the source material that made films like 21 Jump Street so much fun.

Kristin Bell is underused but fun as Jon’s unlikeable ex-wife and Vincent D’Onofrio remains a welcome presence in any film. But the rest of the supporting cast gets little opportunity to make a mark.

It’s hard to hate CHIPS. Like its leads, the film is blandly appealing but seriously in need of something bolder to hold your attention.

Verdict-2-0-Stars

Shout at the Devil

The Devil’s Candy

by Hope Madden

Hard rock music makes for both an evocative soundtrack and theme for horror. It possesses a throbbing, angry darkness perfectly suited to imagery, behavior and pace. The hilariously wrong Kiwi flick Deathgasm and last year’s brilliant Green Room knew this.

Writer/director Sean Byrne recognizes this ripe musical landscape. He returns to the genre after too long an absence with his own head banging horror show – The Devil’s Candy.

In 2009 the Tasmanian filmmaker released one of my all-time favorite films, The Loved Ones. And while Candy can’t match the unhinged lunacy of Byrne’s previous classic, his skill with a story, a camera and a cast are still evident.

Ethan Embry plays Jesse Hellman, struggling metalhead painter who, with his wife and pre-teen daughter, just bought a bargain of a house out in the Texas sticks. Why so cheap? Amityville shit.

So, the demented son (Pruitt Taylor Vince) of the deceased former owners lurks about. Meanwhile Jesse’s art becomes more disturbing and consuming. But Byrne shifts expectations, setting the film up as a haunted house/possession terror that turns into more of a serial killer thriller.

Still, so much about this film smacks of redundancy. Too many movies follow a young family into the damned home of their dreams, generating tension with either the fear that one family member will turn on another, or that the parents cannot keep their child safe. Or both.

No, Byrne’s follow up film does not boast the same unbridled originality as Loved Ones. But he almost makes up for that flaw with well-crafted characters, excellent on-screen chemistry among his performers, and a genuine love of metal.

The crossroads between Satan and music – in imagery and lyric – have long influenced and been influenced by horror films. Black Sabbath and White Zombie took their names from scary movies, and the list of flicks that set Satan and rock music against the innocent is too long – and mostly too awful – to mention. (OK, a few: Trick or Treat, Phantom of the Paradise, The Gate, Suck, Liquid Sky, Queen of the Damned – remember that piece of garbage?)

Byrne does a better job of exploding the clichés associated with this line of thinking than perhaps any filmmaker who’s taken up Dio’s sign of the horns. No longer the hysterical outsider condemning that devil music, the film simply uses metal as its backdrop and vehicle, no judgment involved.

Byrne’s also blessed with a lead in Embry, whose caring and vulnerability shine through his tough- looking exterior. Vince is another reliable (if typecast) actor, easily generating sympathy and terror in equal measure.

Clocking in at under 90 minutes, Devil’s Candy is a tight little rocker. The lyrics are familiar, but the riffs still kick ass.

Verdict-3-0-Stars

Searching for Xenu

My Scientology Movie

by Hope Madden

Another documentary on Scientology? Is that religion really so endlessly fascinating?

Um, yes.

There is just something about this cross-breed of spirituality, celebrity, science and greed that makes Scientology immediately intriguing.

And the backstory: a religion that reads like science fiction, developed (revealed?) by a science fiction writer, believed by many as the true and only possible answer to our deepest questions.

Plus celebrities, secrets and very, very suspicious behavior – it’s just hard to look away, and if a filmmaker can find a novel way of exposing the subject, then why not indulge?

Documentarian Louis Theroux brings his wry curiosity to the project, and the result is an uneven but surprisingly compassionate glimpse.

Theroux has a 20-year career with BBC defined by enmeshing himself with fringe populations from neo-Nazis to the Westboro Baptist Church and others. It is his uncanny charm and low-key curiosity that help him endear himself to his subjects and his audience.

The obstacle to any documentary on Scientology is access. You can’t get in. And there is a limit to the number of speculative outsider-looking-in docs that can be considered worthwhile.

What makes Theroux’s avenue into the story interesting is that he uses his lack of access to gain access, because one of Scientology’s curious customs is to combat any perceived threat of investigation. Paranoia is baked into their business model.

They send people out to follow, film and generally harass folks like Louis.

A good portion of Theroux and director Rob Alter’s doc captures the sound stage recreation of incidents – primarily those alleged abuses that have dogged Scientology leader David Miscavige. Theroux also interviews former church members, including one-time high-ranker Marty Rathburn.

So far, so ordinary.

But Theroux’s aim is to flush out the active Scientologists and document their behavior.

A lot can be gleaned from that behavior, and from Theroux’s more balanced investigation into the former church members who participate in his documentary.

We’re still left with so many aggravating holes that you have to rely more on being entertained than informed. Theroux’s affable persistence and comedic intelligence combine with his empathetic insights to offer enough difference that his look is worth the time.

Verdict-3-0-Stars

Fright Club: Celebrating Bill Paxton

Film lost one of the great character actors earlier this year. Bill Paxton – forever reliable, always memorable, often quotable – died in February at the age of 61.

Gone far, far too soon, he’s the horror icon-of-sorts we pay tribute to today. The man made a lot of films, many of them horror: The Colony, Impulse, Future Shock, Club Dread, Deadly Lessons, Mortuary. Sure, these are bad movies, but that doesn’t mean they aren’t enjoyable.

We want to spend most of our time with the horror films that are really worth seeing. Three of them are even quite good!

5. Night Warning (1982)

Here’s a weird one. And convoluted, too. Orphaned Billy (Jimmy McNichol) lives with his horny Aunt (Susan Tyrrell), plays basketball, and necks with his girlfriend Julia (Julia Duffy). Aunt Cheryl kills the TV repairman, claiming he was trying to rape her. When police realize the TV repairman was actually the longtime lover of Billy’s basketball coach, an evenhanded treatment of homophobia arises – surprising, given the time period. Not that it’s the point of the film, but it is the biggest surprise.

No one is really trying to unravel the murder mysteries piling up here. Aunt Cheryl is too busy trying to keep Billy to herself while small town cop Joe Carlson (go-to bigoted cop figure throughout the 70s and 80s, Bo Svenson) just wants to know whether or not Billy’s gay.

You know who else does? Billy’s on-the-court nemesis Eddie (Paxton).

This is very definitely a low budget, early Eighties horror flick. Don’t get your hopes up. But it is such a peculiar movie. Susan Tyrrell is fascinatingly unhinged and so, so creepy that you cannot look away, and if you’re up for one hot mess of a movie, this is an especially absorbing time waster.

4. Brain Dead (1990)

What?! Bill Paxton AND Bill Pullman – is this some kind of lottery jackpot?

No, the two Bills co-starred as a good guy doctor and a sleazy corporate monster. Guess who plays which.

Paxton – working the gap-toothed smirk – needs his old pal Rex (Pullman) to use his skills as a brain surgeon to extract some info from an old colleague, played by Bud Cort. (Bud Cort?! This cast is like a precious gift.)

The film becomes one of those “descent into madness” horrors where the character isn’t sure whether he’s the doctor or the madman. The writing is weak and the direction laughable, but there truly is something going on her. Who knows why Pullman, Paxton or Cort all agreed to this gig. By 1990, all three of them could have done better. But they did this, God bless ‘em, and it is weirdly worth a viewing.

https://www.youtube.com/watch?v=QtmqGe7740g

3. Near Dark (1987)

Back in ’87, future Oscar winner Kathryn Bigelow brought a new take on a familiar theme to the screen. A mixture of vampire and western tropes, Near Dark succeeds mostly on the charisma of the cast.

The always welcome Lance Henricksen is campy fun as the badass leader of a vampire family, while the beguiling Mae (Jenny Wright) – nomadic white trash vampire beauty – draws you in with a performance that’s vulnerable and slightly menacing.

The most fun, though, is Bill Paxton as the truest psychopath among the group looking to initiate a new member. All the film’s minor flaws are forgotten when you can watch an unhinged Paxton terrorize a barful of rednecks. Woo hoo!

2. Frailty (2001)

Director Paxton stars as a widowed country dad awakened one night with an epiphany. He understands now that he and his sons have been called by God to kill demons.

Frailty manages to subvert every horror film expectation by playing right into them.

Brent Hanley’s sly screenplay evokes such nostalgic familiarity – down to a Dukes of Hazzard reference – and Paxton’s direction makes you feel entirely comfortable in these common surroundings. Then the two of them upend everything – repeatedly – until it’s as if they’ve challenged your expectations, biases, and your own childhood to boot.

Paxton crafts a morbidly compelling tale free from irony, sarcasm, or judgment and full of darkly sympathetic characters. It’s a surprisingly strong feature directorial debut from a guy who once played a giant talking turd.

1. Aliens (1986)

Stop your grinnin’ and drop your linen.

Of all Paxton’s unforgettable roles, his Private Hudson has to be the favorite. Better than Weird Science’s Chet, that talking pile of shit, better than the skeevy Simon from True Lies, better even than the punk who’s stripped naked by Arnold Schwarzenegger in Terminator.

Paxton takes a character that could have been a formulaic Marine ready for the monster’s picking and turned him into an interesting, memorable character. He’s the guy you quote, he’s the guy who made you laugh, he’s the guy who kept your attention.

He’s the guy we will miss.

Game over, man.

Killing Time at Work

The Belko Experiment

by Hope Madden

Back in 2005, Aussie director Greg McLean made a name for himself with the brutal but brilliant Wolf Creek. A year later, writer James Gunn would make his feature debut behind the camera with the underseen and wonderful creature feature Slither. (You may know him better for a little something called Guardians of the Galaxy.)

Regardless of whether you do or do not know these two, the fact that they worked together on the new horror The Belko Experiment meant one thing to me: hoo-effing-ray!

There’s the ripe premise: office workers hear over a loud speaker that they have a few minutes to kill two people or the unseen speaker (a royal we) will kill 4. Things escalate. People go a little nuts. It’s Darwinism at its most microcosmic.

Plus McLean and Gunn have assembled a fine cast full of excellent character actors: Tony Goldwyn, John C. McKinley, James Gallagher, Michael Rooker and Gregg Henry, among others.

So what went so blandly, forgettably wrong?

The biggest surprise in The Belko Experiment is the utter absence of surprises. Each actor plays exactly who you’d expect him or her to play. Their Stanford Prison Experiment meets Lord of the Flies exercise turns people into exactly what you’d expect them to turn into.

There’s not even a single inventive death scene to distract you from the fact that you had really high expectations because you totally love these filmmakers and now you’re just wasting yet another lovely evening a darkened movie theater.

Sigh.

Verdict-2-5-Stars

https://www.youtube.com/watch?v=qZNfwayNLL0

Can’t Stand Up for Falling Down

Staying Vertical

by Hope Madden

Alain Guiraudie’s meditation on manhood Staying Vertical hits upon similar themes as his 2013 murder mystery Stranger by the Lake. In other ways, one film is the other’s opposite.

Stranger by the Lake – a serial killer film set on the banks of a French lake used for gay cruising – examined its topic from the inside out. We were surrounded by the suspects, the victims and the scene of the crime. We knew what the leads knew when they knew it, so we participated in each curious choice.

And though Guiraudie once again considers sexuality – sexual expression, repression and identity – he keeps the audience at arm’s length from the exploration.

We wander the French countryside with Léo (Damien Bonnard). Our wide-eyed protagonist is a screenwriter in search of a story. He meanders from one situation to the next, his open curiosity his guide as well as his frequent undoing.

Staying Vertical’s story is as loose and open as Stranger’s was tightly wound. The film is borderline plot free. Leo hikes into the path of shepherd Marie (India Hair), plays with her kids, dodges looks from her father (Raphaël Thiéry – a find!), wanders away and, periodically, back.

His rambling leads him to town, where he tries to connect with a homeless man under a bridge. Then we’re on to a ramshackle house and into the lives of a young man and his ambiguously-defined father figure, into a bizarre plant therapy situation, back to Marie and out again.

Between the loose structure and Bonnard’s guileless performance, Guiraudie creates a fascinatingly male world of disconnection, longing and hope. Léo is – as are we, by extension – an interloper, regardless of his attempts to situate himself.

The filmmaker knows how to arrest your attention despite the meandering nature of the plot. The frank and often jarring sexual imagery (seriously, there’s a scene set to a Pink Floyd riff that will floor you) manages to question preconceived notions in truly fresh ways.

He also shoots scenes through with wry humor, and he captures landscapes (in look and sound) as few if any current filmmaker can.

Guiraudie’s metaphors are frequent and interesting, but never stronger than in the closing scene. Though the crossing storylines don’t always work, the characters that populate this harsh but lovely environment pique your interest as Léo’s journey captures your imagination.

Verdict-4-0-Stars

So that happened…Let’s Do Lent!

Lent

by Hope Madden

In Vermont recently I was trying to find my way to the spa on Church St. where my sister Joy works. Her husband had nabbed me from the airport and dropped me off in the town’s small bohemian coffee house and art district with directions to my sister.

As I wandered onward, a handful of teenage girls walked behind me and I could not help but overhear their conversation because, as a rule, teens are loud.

Said one: My mom and I are both giving up chocolate for Lent.

Responded a second: You’re not even religious.

A third chimed in: That doesn’t matter. I’m doing Lent and I’m Jewish.

Another said: I think people just do Lent so they can say they do Lent to other people to make them feel bad.

By this point my mind had blown and was no longer capable of processing sound stimuli, so I can’t report what other fascinating ridiculousness flowed from their mouth holes.

I was cranky, this being a Friday in Lent and me without any decent meal options at the airports. I wanted badly to grimace at them in utter disdain. I may have wanted to punch them in their dumb ass faces. At the very least, I wanted to shout that you don’t “do Lent.” Lent is not a cartwheel, ladies.

Lucky for them I’d given up mocking and abusing vacuous teens for Lent.

Oh, wait…

Damn, I guess I’ve already broken that penance, haven’t I? And so soon into the season. Lent’s always so much harder than you think it’s going to be.

 

Young Turks

The Ottoman Lieutenant

by Hope Madden

With an almost offensively naïve – or more likely, revisionist – sense of history surrounding an entirely anachronistic amount of gumption, The Ottoman Lieutenant is the third historical romance to hit theaters in as many weeks.

And the weakest.

The lovely A United Kingdom struggled to find an authentic voice for the true story of Seretse and Ruth Khama’s love. Bitter Harvest, on the other hand, lacked the focus to use its love story to articulate the horrors of war.

Both films made a valiant effort to shine a light on a historical period. The Ottoman Lieutenant separates itself from the pack primarily with its open attempt to rewrite history, to make it more noble, palatable and romantic.

Lillie Rowe (Hera Hilmar) is a young woman of privilege. She’s also an American with a thick Icelandic accent, but no matter. Lillie spurns her stuffy 1914 Philadelphian upbringing in in favor of mission work in Anatolia, thanks to a cardboard-stiff speech given by mission doctor Jude Gresham (Josh Hartnett).

Once there, as Dr. Gresham falls in love with Lillie, she’s busy falling for Lieutenant Ismael Veli (Michiel Huisman) who, luckily, speaks English – as do all Turks in the film, even when they’re talking amongst themselves. How convenient!

Armenians – a population all but wiped from existence one year later – figure minutely in this soft focus clash between Muslims and Christians. But why tell their story just because your film is set in their backyard on the eve of their genocide? The important thing to understand is that, in war, everyone is wrong and only love is right.

That’s the gallingly simple outlook of the nurse with the tousled hair whose cloying voiceover tells us everything and nothing, simultaneously.

Though Joseph Ruben’s direction can never transcend Jeff Stockwell’s historically vacuous screenplay, the film often looks quite lovely. As does Hilmar, which is great as she is never called upon to act. She poses really well, though, and never laughs no matter how precious the dialog. Plus, Lillie has so many great hats!

It’s almost a shame Ben Kingsley shows up when he does because, even saddled as he is with this one-dimensional stereotype of a character, Ben Kingsley can act. His talent only exposes the balance of the cast for the posers (and poseurs) they are.

The Ottoman Lieutenant offers a lot of easily won wisdom and quick solutions – and hats. None of these strike me as items abounding during a time of war, but stark reality is not the goal of the film.

What the point is, I couldn’t tell you.

Verdict-2-0-Stars