Tag Archives: Danny Glover

Sorry to Bother You (2018, Boots Riley)

Sorry to Bother You has four endings. Well, more like three and a half. They’re all good enough endings, except the last one, which is truncated and just reminds how iffy the entire third act has been. Until the third act, the film is going strong. Underdeveloped but affable lead Lakeith Stanfield–the character is underdeveloped and affable, not the performance; Stanfield’s performance is fantastic–gets a job as a telemarketer and finds out he’s a natural salesman. At least over the phone.

The film takes place in an alternate reality (of sorts). Mostly Sorry just seems like its set in 2028 but with technology from 2008. Smartphones aren’t ubiquitous. Actually, they’re not even present until writer and director Riley needs to use one for a plot point. But society is futuristic, in all the bad–and very realistic–ways, with rich White guy Armie Hammer and his company, which signs people into lifetime work contracts. People live in the warehouse, they work in the warehouse, they (presumably) die in the warehouse. And having a limitless supply of indentured laborers isn’t even enough for Hammer it turns out. Riley does really well conceptualizing the possibilities and inhumanity of capitalist greed, though he doesn’t really execute them particularly well. At least not once the third act hits.

Stanfield’s not thinking of signing up for the work-for-life thing. It seems to be more for people trying to get out of debt. They even take your kids. It’s a background subplot, which ends up figuring in a little, but only because Riley forces it. Riley’s not subtle about Chekov’s gun. Guns, actually. There’s also the most popular TV show in the world, where people get beat up on camera for… notoriety? It’s never clear. There’s a fame culture but without the new media infrastructure (even though YouTube gets a big mention).

So while Stanfield’s trying to make the telemarketer thing work (selling crappy encyclopedias–again, there’s no wikipedia?), his girlfriend Tessa Thompson is working on an art show while making ends meet as a sign twirler. She’s got a really undeveloped subplot about becoming an activist protesting Hammer’s work-for-life company. Her art show is also really undeveloped, though sensational when Riley finally gets to it. Thompson is, in general, really undeveloped.

Simultaneous to Stanfield’s rise to telemarketer success is the other employees (including Thompson) trying to unionize. Steven Yeun is the outside agitator who gets things started–by leveraging Stanfield’s success, which comes off as exploitative but goes unexplored–and Jermaine Fowler is Stanfield’s friend who stays true to his fellow workers. One of the big problems, which doesn’t matter because the movie’s so funny, is how unbelievable the telemarketing company comes off. It’s not believable anyone could sell the crappy encyclopedias, so how do they have enough employees to fill a call center. The always good, sometimes exceptional laughs fill in the spaces too wide for suspensions of disbelief.

Once Stanfield gets super successful he’s unknowingly put on a collision course with Hammer, who needs a good salesman like Stanfield. Just like Stanfield, who’s an affable Black man who can talk to White people the way White people want to be talked to. Riley’s commentary on capitalism and its disgustingly obvious roadmap takes precedence over any exploration of race. Race is always present–sometimes it’s on the fore–but it’s always secondary, even when it shouldn’t be.

Just like the comedy in the first two acts covers for the narrative leaps or avoidances, Riley uses sensationalism–absurdist sensationalism–to cover in the third. Because Stanfield doesn’t really get a character arc. He’s on a story arc, but he was so thinly established (Riley leveraging Stanfield’s performance) it doesn’t add up to much. And then three and a half endings muss things up more. Each in different ways.

All of the acting is strong. Stanfield’s a spectacular leading man. Thompson’s good, even if her part is only deep in exposition. Yeun’s good. Fowler’s somewhat inconsequential–Sorry feels like things got cut either from the final cut or from the script; Fowler’s just around. Omari Hardwick’s fine as one of Stanfield’s bosses, though he’s a sight gag versus the other bosses–Michael X. Sommers, Michael X. Sommers, and Kate Berlant–who are all absurdly funny. Hammer’s perfect for the part but almost brings too much self-awareness and humanity to it. Danny Glover and Terry Crews are great in extended cameos.

Technically, the film’s outstanding. Riley’s direction, Doug Emmett’s photography, Terel Gibson’s editing. Especially Gibson’s editing, which does a lot but without any fanfare whatsoever.

Sorry to Bother You is really good. It’s almost great. But the third act is a mess.

3/4★★★

CREDITS

Written and directed by Boots Riley; director of photography, Doug Emmett; edited by Terel Gibson; music by The Coup, Merrill Garbus, Riley, and Tune-Yards; production designer, Jason Kisvarday; produced by Nina Yang Bongiovi, Jonathan Duffy, Charles D. King, George Rush, Forest Whitaker, and Kelly Williams; released by Annapurna Pictures.

Starring Lakeith Stanfield (Cassius), Tessa Thompson (Detroit), Armie Hammer (Steve Lift), Steven Yeun (Squeeze), Jermaine Fowler (Salvador), Omari Hardwick (Mr. _______), Terry Crews (Sergio), Kate Berlant (Diana), Michael X. Sommers (Johnny), Danny Glover (Langston), Robert Longstreet (Anderson), and Forest Whitaker (Demarius).


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Saw (2004, James Wan)

I’m disappointed in Saw; I didn’t think I could possibly have any expectations for the movie where Farm Boy has to cut off his foot. I also didn’t know it wasn’t Danny Glover locked in the room with Cary Elwes. I wish Danny Glover had been locked in the room. He’s not. He’s a cop. And he’s terrible.

Danny Glover gives a terrible performance as a cop. Embarrassingly bad. It’s uncomfortable watching him a lot of the time, because it just feels wrong. Writer and leading man Leigh Whannell writes in movie trailer speak. Everything’s a soundbite. Not even caricatures, much less characterization. Saw’s just a bunch of actors reciting terrible dialogue without any direction from Wan. Sometimes it’s funny, sometimes it’s sad. It’s sad with Glover.

Elwes is just funny. For the first half of the movie, he’s got a husky low voice to hide his accent. Farm Boy has been acting since he was seventeen years old, but apparently on Saw, he forgot how to believably get rid of his English accent. Then the English accent comes through, then Elwes adds husky to the English accent. The third act is Elwes wailing a lot, usually without any continuity between his wailing accents.

Whannell, as a writer and an actor, is terrible. Still, he’s not unlikable. He’s not sympathetic, which is a problem because he’s being held captive in a terrible, poop-filled bathroom with a dead body and the Dread Pirate Roberts trying really hard to be so serious he might be a surgeon. But he’s also not unlikable. He’s just giving a bad performance in a terribly written part.

Ken Leung’s bad as Glover’s partner, but the writing is worse. Michael Emerson weathers his involvement a little better than his costars. Monica Potter’s fine in her scenes, which usually involve Saw threatening ten year-old Makenzie Vega with horrific death. Saw’s comfortable being craven.

If director Wan had any personality, and Armstrong’s photography weren’t so flat and Kevin Greutert’s editing weren’t so imprecise, Saw might be some kind of horror exploitation camp. But it’s not camp. It’s got all the set pieces for exploitation, but Whannell’s ponderous script and Wan’s bland visualizing shove the film into the serial killer sub-genre. Except there’s not really anything about the serial killer’s method, so it’s not an easy fit. It ought to be a psychological thriller–real time, Elwes and Whannel deciding their fates. Instead, there are a bunch of pointless flashbacks.

Because Saw can’t slow down. The one thing Wan and Whannell seem to get is the need for momentum. The film drops the audience in without any setup, so Wan’s got to make every jump scare prove the pitch’s worth. And he’s got a couple good jump scares. They’re like the only good things in the film, but it’s not nothing.

Saw sputters out in the third act. The tension is gone as the film just becomes a string of plot revelations. A lot of the film is Whannell’s fault as writer, but most of it’s on Wan. He doesn’t have any enthusiasm to his composition and he doesn’t have any interest in his actors. One or the other might’ve helped Saw.

Within reason, of course; it’s still got Cary Elwes’s risibly atrocious performance.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by James Wan; screenplay by Leigh Whannell, based on story by Wan and Whannell; director of photography, David A. Armstrong; edited by Kevin Greutert; music by Charlie Clouser; production designer, Julie Berghoff; produced by Mark Burg, Gregg Hoffman, and Oren Koules; released by Lions Gate Films.

Starring Cary Elwes (Dr. Lawrence Gordon), Leigh Whannell (Adam), Danny Glover (Detective David Tapp), Monica Potter (Alison Gordon), Ken Leung (Detective Steven Sing), Michael Emerson (Zep Hindle), Makenzie Vega (Diana Gordon), and Shawnee Smith (Amanda).


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Lethal Weapon 3 (1992, Richard Donner)

Lethal Weapon 3 is an expert action movie. Director Donner, cinematographer Jan de Bont, editors Robert Brown and Battle Davis do phenomenal work. Even though the cop action thriller plot of the film is its least compelling–dirty ex-cop Stuart Wilson is funding real estate development through arms dealing–those sequences are still good. The actors carry over everything from their stronger subplots into those scenes.

Mel Gibson gets the showier subplot, romancing a likeminded–and similarly martial arts trained–fellow detective, played by Rene Russo. The ever-about-to-retire Danny Glover has something of a family drama, but also a crisis of character arc. Joe Pesci is around to make plot contrivances a little more palatable. He’s also great for the other actors. Everyone reacts well to Pesci, even if they don’t have a lot of dialogue.

Because Donner is excellent at directing the actors in this film. The sequence where Gibson realizes Russo’s a little bit of a goofball (after the audience is already in on the joke) is beautifully done. Gibson and Glover do get their moments–lots of male-bonding, lots of man tears–but Gibson’s scenes with Russo are basically a showcase for her. She brings such a strong personality to the character right off the bat, the subsequent character reveals are basically mini-delights for the audience. And Gibson and Glover. It’s a phenomenal part and Russo’s fantastic.

Between the two leads, Glover gets the better personal story arc. He gets the harder material–he also gets some great comic material–while Gibson basically just toggles between fun and crazy. Gibson’s really good at the toggling and there’s a maturity to his performance–just because the beast looks upon the face of beauty, it doesn’t mean he’s as one dead, not in Lethal Weapon 3.

The score–one assumes Michael Kamen did all the Michael Kamen sounding action music while Eric Clapton and David Sanborn handled the soul-searching, but who knows–is omnipresent and occasionally too much. It’s too slick against that beautiful de Bont photography and Lethal Weapon 3 starts to feel plastic. But then the actors do something, something in their performance, something in the script, and the integrity comes through. Sometimes the music even ends up helping with it.

Solid supporting turns from Steve Kahan, Damon Hines and Gregory Millar. Glover’s family otherwise doesn’t have enough to do–Darlene Love’s in maybe three scenes, gets one good one. Ebonie Smith has zip. Traci Wolfe has a couple decent moments, but again, not enough. Lethal Weapon 3 is a strange picture in it having too many good things going on while it still needs to be an action movie. Going longer wouldn’t have helped either, the pacing is perfect.

Stuart Wilson’s villain is a bit of a liability. Donner uses him sparingly, or always with a better performance in the same scene. Except maybe two with chief henchman Nick Chinlund–the villains in Lethal Weapon 3 are really lame, thank goodness the rest of the film makes up for it.

Also want to mention the great production design from James H. Spencer.

Lethal Weapon 3 is a great time at the movies. Donner finds just the right mix of comedy, action, drama and suspense.

2.5/4★★½

CREDITS

Directed by Richard Donner; screenplay by Jeffrey Boam and Robert Mark Kamen, based on a story by Boam and characters created by Shane Black; director of photography, Jan de Bont; edited by Robert Brown and Battle Davis; music by Michael Kamen, Eric Clapton and David Sanborn; production designer, James H. Spencer; produced by Joel Silver and Donner; released by Warner Bros.

Starring Mel Gibson (Martin Riggs), Danny Glover (Roger Murtaugh), Rene Russo (Lorna Cole), Stuart Wilson (Jack Travis), Joe Pesci (Leo Getz), Darlene Love (Trish Murtaugh), Steve Kahan (Captain Murphy), Damon Hines (Nick Murtaugh), Traci Wolfe (Rianne Murtaugh), Ebonie Smith (Carrie Murtaugh), Gregory Millar (Tyrone), Delores Hall (Delores), Nick Chinlund (Hatchett), Jason Rainwater (Edwards) and Mary Ellen Trainor (Stephanie Woods).


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From Above (2013, Norry Niven)

When talking about films, I sometimes say “sincerity helps.” I got it from the Leonard Maltin review of Superman IV. I never say it ironically, I never say it as a joke. After From Above, I’m not sure sincerity helps at all.

From Above is sincere. It’s sincerely about prejudice and marriage and all sorts of things. It’s also bad. Director Niven is very adept at integrating CG into his shots–storms to start, but the whole film is baked in a computer. He never seems to wonder if creating such unrealistic, if lovely, visuals is a good idea or if it’ll just distance the viewer from the actors.

Similarly, he’s got music running all the time. Eric Kaye’s score can find the melodrama in any situation, even when the lead girl–Chelsea Ricketts, who too is sincere in an absurdly written role–is just walking. Niven has definitely got a vision and is committed to it.

But there’s nothing to Above. Watching Danny Glover and Tantoo Cardinal recite Shakespeare lines to each other (she’s dying, he’s taking care of her), it’s effective. It’s cheap, but it’s effective. The good story is probably about Glover and Cardinal as their deal with her impeding death, not how they met. Certainly not how they met in 1972 Arkansas, which is a racist place and all, but nowhere near as racist as, say, Archie Bunker.

Above is sincere, but sincerity doesn’t fix a bad script or cheap direction. It’s painfully trite every minute.

0/4ⓏⒺⓇⓄ

CREDITS

Photographed and directed by Norry Niven; written by James Bird; edited by Peter Tarter; music by Eric Kaye; production designer, Geri Schary; produced by Niven and Loren Basulto; released by Vertical Entertainment.

Starring Danny Glover (William Ward), Graham Greene (Mr. Mountain), Chelsea Ricketts (Venus), Mike Wade (Young William Ward), Ashley Bell (Molly), Tantoo Cardinal (Older Venus), Clarence Gilyard Jr. (Jeremiah Ward), Adriana Mather (Betty), Justin Alston (Ricky), Ezequiel Stremiz (Luca) and Clayton Rohner (Mr. Shelton).


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