Tag Archives: Kevin Kline

Patty All the Time

The Bob’s Burgers Movie

by George Wolf

Some fifteen years ago (!), at a critics screening for the movie version of Strangers With Candy, I laughed early and often. I was a fan of the TV show and its particular brand of humor, and I thought the film was hilarious. And then I realized something.

I was the only one laughing.

At the recent critics screening for The Bob’s Burgers Movie, a similar thing happened. Only one person was laughing.

It wasn’t me.

Series creator Loren Bouchard brings his baby to the big screen as co-writer and co-director, and he promptly puts the Belcher burger joint in jeopardy.

The family has just seven days to make a loan payment to the bank, and business isn’t exactly booming. And that was before a big sinkhole formed directly outside the front entrance! Meanwhile, the Belcher kids stumble onto a mystery involving the obnoxiously rich Calvin and Felix Fischoeder (voiced by Kevin Kline and Zach Galifianakis) that could reveal a way out of the whole mess.

Bouchard and his regular cast of voice actors (including H. Jon Benjamin, Kristen Schaal, Dan Mintz, Eugene Mirman and John Roberts) have been at this for over a decade, and their move to the multiplex shows no signs of re-inventing a formula that has clearly worked for years.

It just doesn’t work for me.

The songs are spirited, the animation well-crafted, and the dialogue often rapid fire. But it leans on a style of humor that’s often obvious and repetitive, in a cartoon world where nearly every single business has to have a corny name like “It’s Your Funeral Home,” “Sprain Sprain Go Away” and “Weight Weight Don’t Tell Me.”

But to its credit, The Bob’s Burgers Movie is here to super serve the regulars. There may be too much fatty in the patty to attract many new converts, but if you’ve already memorized the specials, belly up for a deluxe portion.

Birdhouse in Your Soul

The Starling

by Hope Madden

A quick synopsis of The Starling, the new drama from Hidden Figures director Theodore Melfi, brims with potential, offers an appealingly messy notion.

Lilly (Melissa McCarthy) and Jack (Chris O’Dowd) are suffering, silently and separately, about a year after the death of their baby girl. Jack waits out his grief in an institution while Lilly tries to tough it out on her own. Eventually she decides to plant a garden, but a territorial, dive-bombing starling makes that difficult. She turns to psychologist/veterinarian Larry (Kevin Kline) for help.

That’s a lot to unpack, but when the core theme is grief, complications are welcome. Hollywood tales of grief and relief tend to be too tidy, the metaphors too clean, while the unruly emotion being presented is rarely tidy or clean in real life. A good mess is called for.

Unfortunately, The Starling is not a good mess. Just a regular old mess.

Matt Harris’s script never digs below the surface — not even when Lilly is gardening. Melfi relies on the score to represent emotional weight rather than leaning on his more-than-capable cast to depict that grief. An anemic comic-relief subplot at Lilly’s gig managing a grocery store feels wildly out of place and wastes real talent. (Timothy Olyphant has four lines – funny lines delivered via a character that should be on a TV sitcom, not in this movie.)

O’Dowd — who was the absolute picture of grief in John Michael McDonagh’s masterful 2014 film Calvary – fares the best with the material. Even though his character’s resolution feels unearned, there is heft in the performance that allows human emotion to overcome a weakly written character.

McCarthy suffers most, though. Unable to ad lib her way toward elevating a drama, she sinks beneath the unrealistic banter between Lilly and Kline’s Dr. Larry. Kline is solid, strangely aided by Harris’s weak characterization, which allows the actor to find a groove that conveys more than what’s on the page.

Moments of genuine emotion punctuate the film and, while welcome, they mainly serve as a reminder of what The Starling had the potential to become.

In Like Flynn

The Last of Robin Hood

by Hope Madden

Errol Flynn was a bad dude, but charming and rich enough to get away with it. Richard Glatzer and Wash Westmoreland’s accounting of his scandalous last days, The Last of Robin Hood, sidesteps the tawdry details and tries to shed some light on how it all could have happened.

For the unenlightened, Flynn is best known for his Hollywood swashbuckling films of the 30s and 40s and just slightly less known for his wicked ways. He died at 50 in the arms of his teenaged lover, whose mother was later charged with contributing to the delinquency of a minor for her involvement in the affair.

The film avoids lurid antics, mercifully, and treats young Beverly Aadland (Dakota Fanning) with respect throughout. Fanning’s performance is an understated wonder, animating a person who accepted people at face value, refused to be a victim, and managed to respect herself though everyone else saw her as a lovable pawn.

Equally wonderful is Susan Sarandon as Beverly’s scheming mother. Layered with desperation, naiveté, cynicism and star-struck gullibility, the performance reminds you of just how talented the veteran is.

As Flynn, Kevin Kline looks surprisingly like the old swashbuckler, but his performance skirts caricature. Worse still, though he certainly manages to showcase Flynn’s charisma and oily charm, he isn’t able to find the ugliness inside. His performance is too generous, which is the film’s greatest weakness. Glazer and Westmoreland seem to hold all involved relatively blameless. For that reason, their film has no teeth.

It’s a curious approach, partly because of the way Lolita – both the book and Stanley Kubrick’s 1962 film – is worked into the narrative. It would appear that Flynn recognized the similarities between his situation and that of Nabakov’s lead. While many would use this fact as an avenue into Flynn’s twisted perception, the film and Kline convey it as almost sadly self congratulatory. The tone is of melancholy rather than repulsion, or even indignation.

Perhaps the filmmakers saw no real villainy in a story where a mother passes her 15-year-old daughter off as 18 and a lecherous old perv takes advantage of the situation. There are certainly those who believe Nabakov dismissed the repugnant behavior of his character. But perhaps Nabakov had faith in a reader who could recognize an unreliable narrator, and he used that device to explore the mind of a predator who can barely recognize his own criminality.

The Last of Robin Hood could have benefitted from the same wry, weary wisdom. Instead, it chooses to point its finger nowhere in particular, leaving us with a villainless tale of a by-gone era where things were less wholesome than we’d imagined.