Plot: Laura (Rashida Jones) is a writer who is waiting for her flow to come back after having children. Meanwhile her husband Dean (Marlon Wayans) works a lot, including many business trips. When Laura tells her flighty father Felix (Bill Murray) about some weird moments she had with Dean, hinting at her suspicions that he might be cheating on her, Felix – who was never faithful in his life – is absoluletly convinced that Dean is having an affair. Despite her initial disbelief, Laura gets drawn into the surveillance mission that Felix makes out of his suspicion – a mission that keeps growing in scope.
My relationship with Coppola’s movies is rocky at best (no puns intended), and while I’d say that On the Rocks is definitely one of her films that worked more for me than others did, it still didn’t really come together for me, remaining mostly just fine.
Plot: In the near future, there are barely any people left – most of them have been turned into zombies. Among the survivors are Columbus (Jesse Eisenberg) and Tallahassee (Woody Harrelson) who stumbled upon each other by chance and decided to stick together for a while, though the obsessive and anxious Columbus and the toughtalking, explosive Tallahassee don’t have much in common. When they run into Wichita (Emma Stone) and Little Rock (Abigail Breslin), the girls first rob them, but later on, they throw their lot together, hoping to reach a place where they’re safe.
When I saw Zombieland for the first time (almost a decade ago), I was utterly cahrmed by it. Re-Watching it now, I have to admit that it lost a bit of its sheen, but it’s still pretty entertaining.
Erin Gilbert (Kristen Wiig) is trying to establish herself as a physicist when an old book of hers resurfaces. She wrote it many years ago together with Abby Yates (Melissa McCarthy) on the subject of the existence of ghosts and other paranormal phenomena. Erin is afraid that the book will threaten her career despite the fact that she left those ideas behind. When she goes to speak with Abby to ask her to keep the book under wraps, she finds her working with Jillian Holtzmann (Kate McKinnon) to prove the existence of ghosts. When they are actually called in to examine a haunting, everything changes: Erin tags along and can see the ghost with her own eyes. So the three of them team up with Patty Tolan (Leslie Jones) and found the Ghostbusters.
Ghostbusters was a hugely enjoyable film that had me laughing pretty much all the way through – despite the fact that Feig’s humor is usually very much hit and miss for me. But with a cast that great, not much can go wrong.
A few years ago, the panther Bagheera (Ben Kingsley) found a human baby and decided he couldn’t just let it die. So he brought it to the wolves Akela (Giancarlo Esposito) and Raksha (Lupita Nyong’o) who raised him as their own. Now the baby – Mowgli (Neel Sethi) – has grown into a child who feels perfectly at home in the jungle. But the tiger Shere Khan (Idris Elba) will not suffer a human in the jungle. With the threat of murder in the air, Bagheera decides that the safest option is to bring Mowgli back to the humans.
The Jungle Book is a weird film. On the one hand, it stays extremely close to the animated Disney version, on the other hand it often enters grimdark territory. That makes for a very weird mix that made me scratch my head more than once.
Richie Lanz (Bill Murray) is a tour manager who has seen his heyday. Now he only has a handful of unknown acts, the most promising of which is probably Ronnie (Zooey Deschanel). When Richie hears about the tours for soldiers stationed in Afghanistan and what people get paid for those tours, he’s determined to get Ronnie there, despite whatever protests she might utter. She can be convinced but once they land in Kabul, she loses her nerve and takes off with the help of mercenary Bombay Brian (Bruce Willis). As luck will have it, though, Richie stumbles upon fresh new talent in the form of Salima (Leem Lubany). He is determined to get her to the TV show Afghan Star. Only problem is: Pashtun women are not allowed to sing and perform in Afghanistan.
Well. Rock the Kasbah is certainly a film. But it’s a film without direction or much thought or much to recommend it, really.
Both Behind Jim Jarmusch and Travelling at Night with Jim Jarmusch are documentaries about the creative process of director Jim Jarmusch. Rinaldi followed Jarmusch during the shot of The Limits of Control and then again a couple of years later during the work on Only Lovers Left Alive, trying to grasp how Jarmusch gets to work.
Behind Jim Jarmusch was Rinaldi’s first documentary and you can see how much she learned, so that Travelling at Night with Jim Jarmusch becomes the much better film. But both are interesting to see, especially if you like Jim Jarmusch’s films as they give you a look into the creation of something special.
Vincent (Bill Murray) seemingly hates everything but alcohol and his weekly sessions with sex worker Daka (Naomi Watts). But he also needs money and when newly single mom Maggie (Melissa McCarthy) moves in next door, desperately in need of help with her son Oliver (Jaeden Lieberher), Vincent offerst to babysit Oliver in the time between end of Oliver’s school and end of Maggie’s job. As Oliver soon discovers, there is more to Vincent, though, than meets the eye.
St. Vincent is nice, but ultimately completely inconsequential, brings nothing new to the table and, apart from the parts that annoyed me, I’ll probably forget it as soon as I finish this review.
Frank Cross (Bill Murray) is a TV producer. Rich, successful and cynical, he always strives to find the lowest common denominator to make most people watch his station. The current project is a live version of Dickens’ A Christmas Carol, which Frank has spiced up, among other things with show girls. But just before the show starts, Frank is visited by his dead mentor Lew Hayward (John Forsythe) who warns him that he will be visited by three (other) ghosts to try to redeem him.
Scrooged was one of the films I used to watch regularly as a child, but I didn’t see it as an adult until now (or actually December, when it was screened at a local cinema). And as usual it is fascinating how different you see a childhood film as an adult. I enjoyed it then, I enjoy it now, but apart from my interestingly selective recollection, there were just so many things I never saw before.
Gustave H (Ralph Fiennes) is not just a concierge, he is probably the best concierge there ever was and he has his fans. One of them is his newly acquired protégé Zero (Tony Revolori), another a frequent guest at the Grand Budapest Hotel, Madame D. (Tilda Swinton). When she is f0und dead, though, suspicion falls on Gustave and he has to try and clear his name and to claim his inheritance, all with Zero in tow.
The Grand Budapest Hotel is probably the best film Anderson made since The Life Aquatic, if not his best film so far, period. It is crazy, enjoyable, funny, aesthetic and weird and has an awe-inspiring cast. Wonderful.
As World War II is in full swing, the European art collections (both private and public) are methodically plundered by the Nazis. So Frank Stokes (George Clooney) manages to get a squad together, consisting mostly of old men who know their art. They are tasked with saving what is left – from statues to paintings. But even as the end of the war comes ever closer, this is neither easy nor without its dangers.
The Monuments Men is a film that is utterly mediocre. (puzzledpeaces called it “beige” and that hits the nail on the head pretty much.) The script isn’t good, the directing isn’t good, the camera work isn’t good – but none of it is all that bad either. It’s a film that tries to be as acceptable as possible to as many people as possible and with that desire loses all shape and impact.