Tag Archives: Theodore Melfi

Snooze

March 6, 2024 maddwolf Leave a comment

American Dreamer

by Hope Madden

I was looking forward to American Dreamer, the comedy/drama that pairs Peter Dinklage and Shirley MacLaine as odd couple tenant/homeowner in a comment on the American dream.

And then I found out Matt Dillon and Danny Glover are in it, which appealed as well.

And then I wondered what on earth compelled any of the four of them to take this gig.

Paul Dektor’s film follows Dr. Phil Loder (Dinklage), an adjunct professor of social economics who is very down on his luck. Not sure how he got here? No worries, because a bartender will explain all of it to Loder, who one assumes must already know his own backstory. But this is how bad writing shows itself. And it won’t be the last time.

Loder dreams of home ownership, but he lives in a crappy apartment, drives a 30-year-old Saab, and makes (the bartender explains) less than 50k a year. But then he finds the deal of a lifetime in his price range. He just has to pay now, hold out in the stinky servant’s quarters and wait until the current owner (MacLaine) dies. Then his dream house is all his!

That’s convoluted and contrived enough, but wait, there’s more!

Mainly there’s a lot of sloppy, needless plot devices that do not entertain but do disjoint the overall film. One of these writers (Theodore Melfi) has an Oscar nomination for Hidden Figures. Go figure.

Not that the direction’s any better. Dektor can’t decide if American Dreamer is a slapstick comedy, a sex comedy, or a social diatribe aimed at capitalism. Choosing none of these, he winds up creating an inarticulate mishmash.

Everything that happens outside the relationship between Dinklage and MacLaine feels extraneous, but the focus is almost never on the two leads. Worse still, the actual relationship—what we see of it—is silly and superficial. Because of this, Loder’s arc is unearned.

It’s great to see Dinklage in a lead and in a comedy. Too bad it’s this one.

MacLaine is even more ill-used, and Dillon’s realtor character is unfathomable. You spend the whole time waiting for some revelation, like that he and Loder are boyhood friends or brothers—anything to explain their contemptuous yet close bond.

Maybe I should ask the bartender. I bet he knows.

New In Theaters

Birdhouse in Your Soul

September 22, 2021 maddwolf Leave a comment

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.

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Old Bandits Society

April 6, 2017 maddwolf Leave a comment

Going in Style

by George Wolf

More than once, Going In Style tells us “it is a culture’s duty to take care of its elderly.”

If only the film had a funny way of showing it.

Instead, director Zach Braff takes three screen legends on a caper full of obvious writing, cheap slapstick and dressed up sitcom filler.

An update on the 1979 George Burns/Art Carney/Lee Strasberg vehicle, this new version stars Michael Caine, Morgan Freeman, and Alan Arkin as Joe, Willie, and Al, three New York retirees who’ve just been screwed out of their pensions by corporate shenanigans. While Joe is fighting his home foreclosure notice with a smarmy bank manager, the bank gets robbed.

Joe’s impressed with the heist, and unimpressed with the detective (Matt Dillon) trying to track down the thieves, so why not give stickups a try? Let’s face it, even if the guys get life in prison, how long could that be? Because they’re so old! Man, those age jokes just get funnier the more they’re repeated, don’t they?

No, they don’t, and screenwriter Theodore Melfi, fresh off some fine work with Hidden Figures and St. Vincent, hits a major pothole on his road to straight up comedy. Seeing how these three veteran actors play off each other should be a treat in itself, but too much of the leadup to the actual bank job has the trio stuffing whole roasts down their pants at the grocery or sitting around watching The Bachelor. You know, because the thought of senior citizens watching that show is so outrageous!

Lazy.

It doesn’t help that Braff (Garden State, TV’s Scrubs) has all three actors overdoing the aches and pains of aging for most of the film, and only in the final few minutes, when the longtime friends are apparently rejuvenated by their crime spree, do you get the sense of any realistic characters with natural chemistry. The robbery itself, where Braff shows some stylistic flair and an instance or two of subtle visual comedy, seems stolen from another film entirely.

Perhaps even one that was interesting.

New In Theaters, Slider

Calculating Ladies

January 4, 2017 maddwolf Leave a comment

Hidden Figures

by George Wolf

When you learn whose story is being told by Hidden Figures -three African American women who were instrumental to the success of America’s space program – no one could blame you for fearing the “white savior.”

Thankfully, director Theodore Melfi (St. Vincent) avoids that pitfall…for the most part, anyway.

In the 1960s, mathematicians Katherine Johnson (played by Taraji P. Henson), Dorothy Vaughan (Octavia Spencer) and Mary Jackson (Janelle Monae) were working in segregated areas of Langley Research Center in Virginia. As pressure mounted for the U.S. to catch up in the “space race,” Johnson (a Presidential Medal of Freedom recipient in 2015) was promoted to calculating launch and flight data for Project Mercury, while Vaughan and Jackson blazed similar trails in computer programming and engineering, respectively.

It is an inspiring piece of history, one that is overdue for a big screen tribute, and Melfi -who also helped adapt the script from Margot Lee Shetterly’s book-gives it as much respect as he can without fully committing to the heroines themselves.

That’s not to say this is patronizing fodder on the order of The Blind Side or even The Help, far from it. But some moments of achievement from these African American women are framed as if the credit should go to the white people (mostly men) for realizing the ills of segregation and courageously allowing these geniuses to contribute.

When NASA director Al Harrison (a fictional composite played by Kevin Costner) reverses Langley’s segregated restroom policy, he does it in the most grandstanding, heroic way possible as the music swells to self-congratulatory crescendos. Dramatic? Oh yes. Pandering? You bet, and unnecessary.

A late exchange between Vaughan and a supervisor (Kirsten Dunst) has the subtle bite that shows Melfi content to merely knock on a door that needed opening.

The three principal actors are terrific, Costner, Dunst and the rest of the ensemble (including Mahershala Ali and Jim Parsons) provide fine support, the film is competently written and judiciously paced.

Hidden Figures has all the parts for what could have been a more meaningful sum, if it was a bit less concerned with playing it safe. And considering the subject matter, that’s ironic.

You might even call it a miscalculation.

Maddwolf