Tag Archives: Jay Mohr

The Groomsmen (2006, Edward Burns)

The Groomsmen looks wrong. The film doesn’t have any grain and the lighting suggests it’s shot on some kind of DV (it isn’t). Everything is very controlled–a bright outdoor scene doesn’t seem bright in Groomsmen, it seems like the color has been toned down so as not to offend. It looks like a Mentos commercial really, and that defect doesn’t make any sense. Burns has made films for quite a while now. There’s no excuse. Unless the DVD transfer is just a disaster or something.

It doesn’t help Burns coasts through The Groomsmen in every way possible. I kept waiting for some great shots, but there was literally only one. A very steady Steadicam tracking shot. Every other shot in the film was generic and felt like Burns wasn’t even paying attention when he was setting it up. The film’s got a gradual build-up, so I gave him some benefit of the doubt–and then tracking shot reassured me–but then nothing else ever appeared. But he’s also disconnected with the picture as a writer and actor as well.

The Groomsmen is chock full of characters–Burns, brother Donal Logue, cousin Jay Mohr and friends Matthew Lillard and John Leguizamo. All of them have a subplot going on except Lillard, who owns the bar and is happily married with a couple kids. I assume his subplot is supposed to be the missed high school glory days, but it really isn’t. Lillard’s character is too well-adjusted. Lillard might give the film’s best performance, it’s either him or Logue. While Lillard was flawless, I never thought Logue would be capable of giving such a nuanced, haunted performance.

Burns is able–as a writer–to not give himself many scenes as an actor and he doesn’t. His subplot, ostensibly the main plot, is boring. His absence is almost immediate, which made me think he was going to use the time to concentrate on the film’s direction. He doesn’t. The direction shows a shocking lack of attention and there’s certainly nothing innovative.

There is some funny stuff in the script, but it feels undercooked, like Burns produced an unfinished draft. Too many characters to follow, some conversations too loose, the sort of things he should have cleared up. Mohr’s essentially playing an idiot–he’s the comic relief–and it’s fine. Leguizamo’s good. Burns is clearly an acting piker here, but Heather Burns (I don’t think she’s a relation) is good as Logue’s wife. Brittany Murphy, as Burns’s fiancée, is fine. He keeps the women, with one exception, at home and it hurts the film. The characters start in situations Burns can never make reasonable. They just seem silly.

But the main, male characters don’t even go through interesting arcs. Nothing in the running time should bring any eureka moments for these guys, it’s all stuff they could have hashed out in the first five minutes. Burns feels like he’s got a collection of notecards with pat movie psychoses and he’s assigning them one by one. It’s a shame, since he certainly didn’t start out this way.

The Groomsmen isn’t terrible by any means, but it’s exceptionally disappointing.

1.5/4★½

CREDITS

Written and directed by Edward Burns; director of photography, William Rexer; edited by Jamie Kirkpatrick; music by Robert Gary and PT Walkley; production designer, Dina Goldman; produced by Margot Bridger, Burns, Aaron Lubin and Philippe Martinez; released by Bauer Martinez Studios.

Starring Edward Burns (Paulie), Heather Burns (Jules), John Leguizamo (TC), Matthew Lillard (Dez Howard), Donal Logue (Jimbo), Jay Mohr (Cousin Mike Sullivan), Brittany Murphy (Sue), Shari Albert (Tina Howard), Jessica Capshaw (Jen), Spencer Fox (Little Jack), Kevin Kash (Strip Club MC), Amy Leonard (Crystal), Arthur J. Nascarella (Mr. B), John F. O’Donohue (Pops), Joe Pistone (Top Cat), Tito Ruiz (Man in Bar), John Russo (Little Matt) and Jaime Tirelli (TC’s Dad).


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THIS FILM IS ALSO DISCUSSED IN SUM UP | EDWARD BURNS.

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Speaking of Sex (2001, John McNaughton)

Let me annotate the opening cast crawl with my thoughts at the time….

James Spader–great, love him on “Boston Legal.”

Melora Walters–from Magnolia, love her, she’s in nothing.

Jay Mohr–liked him in Picture Perfect when I saw it, now can’t believe I liked it…

Catherine O’Hara, Bill Murray… solid people.

So what happened? It’s actually not all John McNaughton’s fault, which is a big thing to say. I mean, I loved McNaughton when I was sixteen. He did Mad Dog and Glory and that film is a great “adult” film to appreciate when you’re sixteen. Especially if you love Richard Price. Then he did Normal Life, back when having Ashley Judd in a film meant good things, and I waited years to see it. It premiered on video and it sucked. It was terrible.

McNaughton’s direction is fine, though it’s the modern “comedy” directing that comes from commercials. The script is awful and the performances are awful. Spader is playing his character from Mannequin or something. Walters is awful and it pains me to say that. Mohr was fine.

Lara Flynn Boyle shows up and a lot of the weight of the first eight minutes is put on her. She can handle weight for about… no, I’m wrong. She can’t handle any weight.

I rented Speaking of Sex from Nicheflix and it’s probably the first film from there I’ve turned off. It’s never gotten a US or UK release and the DVD is from Germany. The Germans appear to have no taste in cinema, which is painfully obvious. I’m not sure Germany has produced a decent film since Das Boot. That’s twenty-two years.

And it was a TV mini-series.

So, all that excitement I had for the first three minutes, all that promise Speaking of Sex got from its cast, it’s all disappeared and I’m reminded of those fond days when I wanted to hide my head under a rock for ever saying nice things about McNaughton.

Sometimes, you find a jewel in a film that’s unappreciated in its country of origin. Sometimes you find a beautifully cast turd. And Speaking of Sex is a big turd.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by John McNaughton; written by Gary Tieche; director of photography, Ralf D. Bode; edited by Elena Maganini; music by George S. Clinton; production designer, Joseph T. Garrity; produced by Alain Sarde and Rob Scheidlinger; released by Studio Canal.

Starring James Spader (Dr. Roger Klink), Melora Walters (Melinda), Jay Mohr (Dan), Nathaniel Arcand (Calvin), Megan Mullally (Jennifer Klink), Lara Flynn Boyle (Dr. Emily Paige), Catherine O’Hara (Connie Barker) and Bill Murray (Ezri Stovall).