Tag Archives: Lauren Tom

Man Trouble (1992, Bob Rafelson)

Man Trouble is a strange film, right from the start. It opens with then thirty-year-old Lauren Tom in old age makeup (well, her hair tinted grey). That casting choice–following the animated opening titles–establishes it as an oddity. It’s not a bad film, just a strangely detached one. The protagonist is Ellen Barkin, but since she’s opposite Jack Nicholson, he’s the de facto protagonist.

Nicholson does a good job playing a sleazy, but lovable ne’er-do-well–he’s so lovable, even the people he owes money can’t stay angry at him–and there are occasional moments of Nicholson brilliance. Unfortunately, they’re during the human parts, which he doesn’t get many.

Barkin’s excellent. The film makes a mistake at one point comparing her to trampy sister Beverly D’Angelo. It’s clear Barkin’s character–intelligent, socially awkward and shyly sexy–would never bother making such an obvious comparison. Especially given D’Angelo’s sister is introduced as an unsympathetic cancer on her life.

Some of the supporting cast–Veronica Cartwright, Saul Rubinek–is good. Others–D’Angelo, Michael McKean, David Clennon–are on autopilot. I don’t think Harry Dean Stanton was even awake, they just taped his eyes open.

But the cast isn’t the problem, it’s the script. Eastman’s script is technically good, but it clearly should have been a novel. It’s a reality-based absurdist conspiracy situation comedy. The movie can’t get enough information across to really tell the story.

Still, it’s charming to some degree and much better than I expected.

2/4★★

CREDITS

Directed by Bob Rafelson; written by Carole Eastman; director of photography, Stephen H. Burum; edited by William Steinkamp; music by Georges Delerue; production designer, Mel Bourne; produced by Eastman and Bruce Gilbert; released by 20th Century Fox.

Starring Jack Nicholson (Harry Bliss), Ellen Barkin (Joan Spruance), Harry Dean Stanton (Redmond Layls), Beverly D’Angelo (Andy Ellerman), Michael McKean (Eddy Revere), Saul Rubinek (Laurence Moncrief), Viveka Davis (June Huff), Veronica Cartwright (Helen Dextra), David Clennon (Lewie Duart), John Kapelos (Detective Melvenos), Paul Mazursky (Lee MacGreevy), Gary Graham (Butch Gable) and Lauren Tom (Adele Bliss).


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Bad Santa (2003, Terry Zwigoff), the uncut version

Bad Santa confused me a little. I’m not sure why I expected it to be something other than a traditional Hollywood redemption story–maybe because of Terry Zwigoff, maybe because I didn’t know (or didn’t remember from trailers and buzz) it was about Santa robbing malls. After seeing Zwigoff’s Ghost World, I avoided Bad Santa because I figured it’d be bad too. It’s interesting Zwigoff’s a hipster director because it’s got one of the most manipulative scenes I’ve ever seen in Bad Santa (outside of, I suppose, an episode of “All My Children”). He has this really funny scene–I think it’s the one where Tony Cox and Bernie Mac are yelling at each other–then he goes right into a suicide attempt. So, you’re still laughing from the first scene when you’re watching the decidedly unfunny subsequent scene. Once I realized what was happening, I couldn’t believe it. I think I started laughing more, actually, because it was an incredibly silly thing to watch.

However, Billy Bob Thornton ended up pulling the scene around, which is where Bad Santa gets interesting… with the exception of Thornton, John Ritter and Bernie Mac, the acting in Bad Santa is awful. The kid–to whom Thornton becomes a surrogate father–is fine. He’s really good with Thornton (or Thornton’s really good with him), but Zwigoff also has a good way of directing those scenes. Anyway, besides him… the acting is atrocious. Lauren Graham’s useless, Tony Cox is occasionally okay, occasionally terrible and Lauren Tom provides frequent motivation for turning off the film. But Thornton’s amazing. Even though the script is a melodramatic albatross, Thornton pulls the lines off wonderfully. In many ways, it’s a shame his performance was wasted in this film.

Zwigoff’s poor choice of music hurts a lot of the scenes in the second half–there’s one sequence where the music appears to be too loud or something, it’s disconcerting, but a more appropriate volume wouldn’t have made it a better choice–and the film’s definitely at odds with itself. The mix of absurd and real doesn’t work out–mostly the script, but also the direction (and the editing is schizophrenic).

But Thornton’s performance is a marvel and it makes the film. It’s just too bad the film doesn’t make anything for itself.

2/4★★

CREDITS

Directed by Terry Zwigoff; written by Glenn Ficarra and John Requa; director of photography, Jamie Anderson; edited by Robert Hoffmann; music by David Kitay; production designer, Sharon Seymour; produced by Sarah Aubrey, John Cameron and Bob Weinstein; released by Dimension Films.

Starring Billy Bob Thornton (Willie), Tony Cox (Marcus), Brett Kelly (The Kid), Lauren Graham (Sue), Lauren Tom (Lois), Bernie Mac (Gin), John Ritter (Bob Chipeska) and Ajay Naidu (Hindustani Troublemaker).


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