Tag Archives: Paul Rudd

1995, ⓏⒺⓇⓄ, Horror

Halloween: The Curse of Michael Myers (1995, Joe Chappelle)

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Halloween: The Curse of Michael Myers doesn’t even run ninety minutes and gets boring fast; the last twenty minutes are completely mind-numbing. Nothing makes sense, characters act without motive, cults cult without purpose, it just goes on and on. At least Donald Pleasence is lucky enough to get knocked out for a bunch of it.

Pleasence isn’t in Curse very much. The scenes he does get are usually silly, sort of half expository, half bridging scenes to keep things moving. He has no narrative of his own, which is fine. He’s so uninvolved with the film’s events he shouldn’t have one. Of course, no one gets their own narrative in Curse. At least, nothing approaching a completed one.

Lead Paul Rudd doesn’t. His character survived the first Halloween as a kid, which makes him early-to-mid-twenties. He lives in a boarding house and obsesses over Michael Myers while peeping on new neighbor Marianne Hagan across the street. She’s a single mom moved back in with her family–mom Kim Darby, dad Bradford English, brother Keith Bogart. Devin Gardner plays Hagan’s kid.

So Hagan and Rudd don’t show up for about twenty minutes, maybe a little more–though Rudd does narrate the opening titles, which are set over J.C. Brandy giving birth and then running from Michael and a cult. From a basement. Director Chappelle likes his basements. He likes to poorly direct scenes in them; cinematographer Billy Dickson lights these basement scenes poorly, like everything he lights in the movie. It’s all poorly lighted. Dickson and Chapelle shoot their night exteriors with a lot of blue light. Bright blue light.

Back to Brandy. She’s from the last couple movies but it was a different actress. The movie introduces her in the Rudd voiceover during the titles and there’s no time spent establishing her character. Even though her escape subplot goes on forever, it’s filler. And badly directed. Chappelle badly directs everything in Curse. The movie doesn’t just not having anything to recommend it, it has nil positive elements.

Chappelle’s direction? Bad. Daniel Farrands’s script? Bad. Dickson’s photography? Bad. Randy Bricker’s editing? Bad. Alan Howarth’s music? So bad.

And none of the actors are any good. Once Rudd and Hagan take over the movie, it’s all about Rudd finding Brandy’s baby and then trying to find Pleasence. Meanwhile Hagan’s got a subplot about… nothing? She’s got a couple scenes showing she’s suffering–dad English is physically and mentally abusive, Gardner’s a weird kid–but no subplot. On one hand, it’s good Rudd and Hagan don’t have a romance subplot, but it’s also bad because it’d be so godawful it might be fun to watch.

Rudd’s really bad. Hagan’s better. Darby’s okay. English is bad. Bogart is bad. Mariah O’Brien–as Bogart’s girlfriend–she’s bad. She’s got this subplot about bringing Halloween back to the town. There’s a festival, which doesn’t appear to have actually been staged because Chappelle’s terrible at establishing shots. He, cinematographer Dickson, and editor Bricker are really terrible at tying scenes shot in different locations together. Sure, the plotting is herks and jerks along, but Bricker has no rhythm. There’ll be a bad establishing shot, then a second–longer–bad establishing shot, just on a first unit location. Curse is a visual mess.

Leo Geter is awful as a shock jock who figures in, but not enough.

Mitchell Ryan is in it a few times as Pleasence’s old boss, who wants to hire him back even before Michael Myers returns. Even though Pleasence is clearly not in shape for a nine-to-five.

The jump scares are all cheap, usually red herrings, usually with terrible Howarth music accompanying. But mostly there’s gore instead of scares. But the gore is often insert shots; obvious insert shots. Like Chappelle has something to prove. He can keep finding ways to make the move worse, even as every other “creative” impulse runs out.

Curse is bad. And it goes on too long to be amusing at all in its badness.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Joe Chappelle; screenplay by Daniel Farrands, based on characters created by Debra Hill and John Carpenter; director of photography, Billy Dickson; edited by Randy Bricker; music by Alan Howarth; production designer, Bryan Ryman; produced by Paul Freeman; released by Dimension Films.

Starring Donald Pleasence (Dr. Sam Loomis), Paul Rudd (Tommy Doyle), Marianne Hagan (Kara Strode), Mitchell Ryan (Dr. Terence Wynn), Devin Gardner (Danny Strode), Kim Darby (Debra Strode), Bradford English (John Strode), Keith Bogart (Tim Strode), Mariah O’Brien (Beth), Leo Geter (Barry Simms) and J.C. Brandy (Jamie Lloyd Carruthers).

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2017, ⓏⒺⓇⓄ, Comedy

Fun Mom Dinner (2017, Alethea Jones)

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The best thing about Fun Mom Dinner is the soundtrack. It’s all mainstream early-to-mid eighties hits–some Cars, 99 Luftballons, the song from the end of Sixteen Candles because a Jack Ryan crush is a major plot point (which is a little weird since it’s lead Katie Aselton was six when Sixteen Candles came out and she formed that crush). Sadly Jack Ryan doesn’t appear in the movie. Instead it’s Adam Levine semi-standing in as the object of her infidelity fantasy. Fun Mom doesn’t have a lot of great writing, but it’s never godawful. It’s trite and benign, but it’s not godawful. So Levine’s laughably godawful performance is all his own. Especially since it’s things like… he can’t pretend to listen to people.

Aselton is one of the four not really fun moms out at the Fun Mom Dinner. She ends up being the lead because maybe she’s going to cheat on not good parenting partner and perpetually stressed out husband Adam Scott with Levine. Also because she brings the moms together. She’s friends with Toni Collette, who seems like she’s going to be the lead at the beginning; she’s the disaffected pot-smoking mom. Only it turns out the script’s got nothing for her to do after she buries the hatchet with other fun mom Bridget Everett in their third scene together. Before the end of the third act. There’s some more character development for Collette after that point, but it’s when her husband (Ron Huebel) talks to Scott about it. Huebel and Scott are taking care of their kids while the moms are out having fun.

Everett’s kids and husband don’t matter. They don’t show up after a brief opening introduction. And the four fun mom, Molly Shannon, is in a similar situation. Only she’s divorced so the film isn’t ignoring her husband, just her kid. Or kids. They make so little impression it’s hard to remember how many Shannon or Everett have. And Shannon does get a romantic flirtation subplot with Paul Rust, which could have been cute. It’s proto-cute.

For not getting any story to herself, Everett still is the backbone of Fun Mom Dinner. She has enough energy to make moments connect, even if they don’t always work. Shannon’s character is written too slight; her performance isn’t too slight, the writing is too slight. Collette just loses anything to do except procure pot for the outing or encourage smoking pot and drinking. Aselton’s got the one-two punch of a slightly written character–really, Julie Rudd’s script has the depth of a television commercial–and a too slight performance. Aselton’s never believable. The movie’s never believable, but you can pretend with Everett, Collette, and Shannon. With Aselton. No.

Fun Mom Dinner is not some raunchy, raucous affair. If it weren’t for the moms toking some reefer and dropping f-bombs, it’ll be PG. Aselton’s threatened dalliance with Levine isn’t just bad because Levine’s awful or Asleton’s writing and acting is thin, it’s because director Jones doesn’t do dramatic tension. Not even when it seems like Everett is going to throttle Collette for being such a nasty elitist. Oh, right. It’s never explained why Collette’s such an elitist since she’s married to super-nice, super-supportive doofus Huebel.

Clearly there’s not much budget. When the moms are roaming the streets, the streets are empty. When they’re in restaurants or bars, the shots are very careful not to include too many other people. If Jones weren’t shooting it in Panavision and filling the wide frame with nothing, the movie might not seem so visibly sparse. Sean McElwee’s photography isn’t bad. It’s not great, but it’s thoroughly competent. He’d have been able to shoot the frame more concise.

Jon Corn’s editing is terrible, however; he’s worst with Levine, which is kind of hilarious. Not really. It’s just unfortunate, like everything with Aselton once she becomes the de facto lead.

Fun Mom Dinner is also really short. Eighty-one minutes. And full of filler. Karaoke filler. The movie’s target audience is moms neglected by spouses who daydream about smoking pot and singing Karaoke. Hopefully. Because otherwise it doesn’t even have an intended audience. Otherwise it’s just an exercise is fodder.

Actually the Karaoke deserved more screen time. Everett and Collette can sing. Embracing it–though Everett gets two singing scenes–would’ve helped. It would’ve had to help at least a little.

There’s an extended cameo with Paul Rudd and David Wain as a pair of pot shop owners who avoid any contact with their wives. As much as possible anyway. Like so much else in the film, no one does anything with it except the actors. The actors make it work. Sort of. They keep Fun Mom from being overrun by its own disposability. They don’t make it respectable, but they keep it from being miserable.

Except Levine. And Aselton when she’s with him.

Fun Mom Dinner isn’t terrible enough to be a curiosity. It’s inoffensively pointless.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Alethea Jones; written by Julie Rudd; director of photography, Sean McElwee; edited by Jon Corn; music by Julian Wass; production designer, Tracy Dishman; produced by Andrew Duncan, Alex Saks, and Naomi Scott; released by Momentum Pictures.

Starring Katie Aselton (Emily), Toni Collette (Kate), Bridget Everett (Melanie), Molly Shannon (Jamie), Adam Scott (Tom), Rob Huebel (Andrew), David Wain (Wayne), Paul Rudd (Brady), Paul Rust (Barry), and Adam Levine (Luke).

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2018, Action/Adventure, ★★½

Ant-Man and the Wasp (2018, Peyton Reed)

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Despite being in the first scene in the movie and sharing most of Paul Rudd’s scenes with him, Evangeline Lilly is definitely second in Ant-Man and the Wasp. The film gives her her own action scenes–some truly phenomenal ones–but very little agency. She’s entirely in support of dad Michael Douglas; even after it’s clear Douglas–in the past–was an egomaniac who hurt lots of people, it’s not like Lilly has any reaction to it. Or the film for that matter. During the scene maybe, with Rudd laughing about what a dick Douglas has always been, someone getting very upset remembering how Douglas treated them, Douglas looking bemused, and Lilly looking vacant. There are a few of those scenes and they really define the film’s dramatic qualities.

It doesn’t have many.

It’s got a lot of humorous qualities and a lot of charming ones, but not dramatic. Nothing ever gets as emotionally intense as the first act, in flashback (either straight flashback or dream sequence). Even when there’s all the danger in the world, as Rudd, Lilly, and Douglas race against time to save Lilly’s mother (and Douglas’s wife), Michelle Pfeiffer, from being trapped in the Quantum Zone. Realm. Sorry, Quantum Realm. There’s a lot of quantum things in Ant-Man and the Wasp, it’s hard to keep track.

But the film isn’t about dramatic possibilities so much as good-natured, comedic special effects action ones. There’s this omnipresent theme about parents disappointing children–Douglas and Lilly, Rudd and his daughter (Abby Ryder Fortson), not to mention the villain (Hannah John-Kamen), who’s got her own father issues. But if the film never acknowledges it’s a theme, is it really a theme? The screenplay (by five screenwriters) never worries about it and director Reed really doesn’t narrative echoes. It’s not his thing. His thing is humor and pacing and the film excels at both of them.

Because, even with those five writers–including Rudd–it’s not like there’s much depth to characterizations. Walton Goggins is one of the villains and he’s basically doing a really broad caricature of Walton Goggins being in a Marvel movie as a Southern tech-gangster. Randall Park plays a goofy FBI agent who Rudd keeps on one-upping and it’s even broader. Michael Peña excels with similiar treatment; he’s always played for obvious laughs and Peña plays through, fully, successfully embracing it. Goggins and Park act obviously to the joke. Not Peña.

None of the leads have much heavy lifting either. Rudd and Lilly are so adorable–and find each other so utterly adorable–it’s hard not to enjoy every minute they spend together. Douglas is one note, but the script doesn’t really ask for much more. Pfeiffer does more in her two scenes than Douglas does in the entire film. And she doesn’t even do a lot.

Meanwhile, Larry Fishburne–as one of the many people Douglas screwed over in the past–is able to bring some gravitas to his part. He takes it seriously, even when no one asks him to do so.

But none of it really matters because everyone’s really likable, including villain John-Kamen (far less Goggins, who’s nowhere near as funny as he needs to be to warrant so much plot import), and Ant-Man and the Wasp is full of delightful special effects action sequences. Whether it’s when Lilly is shrinking down and growing big to kick ass in fight scenes, flying all over the place, throwing people all over, or when it’s Rudd growing big instead of shrinking down and using a flatbed truck as a scooter. Reed and the screenwriters know where to find every laugh, every smile–it doesn’t hurt Rudd and daughter Fortson have such cute scenes. Opening on Lilly, making the movie about her missing mother, her lost childhood, it almost seems like it’s a movie about daughters. Oh, right, John-Kamen too. But it’s not. It’s about being cute and funny. It’s never even heartwarming when it’s not cute. There’s not much depth to it.

And, for a movie without much depth, it’s an awesome time. The special effects sequences alone–it isn’t just the fight scenes with awesome shrinking and growing effects, it’s sight gags and car chases and everything else (not to mention adorable giant ants). The film’s inventive as all hell. Except with John-Kamen’s villain, who’s not just occasionally invisible, but also immaterial. Her powers make narrative sense, Reed doesn’t visualize them as well as the rest.

By the end of Ant-Man and the Wasp, you want another one. It’s a delightful, thoroughly competent amusement. Even if Christophe Beck’s score is never as good as it seems to be.

2.5/4★★½

CREDITS

Directed by Peyton Reed; screenplay by Chris McKenna, Erik Sommers, Paul Rudd, Andrew Barrer, and Gabriel Ferrari, based on the comic book by Stan Lee, Larry Lieber and Jack Kirby; director of photography, Dante Spinotti; edited by Dan Lebental and Craig Wood; music by Christophe Beck; production designer, Shepherd Frankel; produced by Kevin Feige and Stephen Broussard; released by Walt Disney Pictures

Starring Paul Rudd (Scott), Evangeline Lilly (Hope), Michael Douglas (Hank), Hannah John-Kamen (Ghost), Laurence Fishburne (Bill), Michael Peña (Luis), Abby Ryder Fortson (Cassie), Walton Goggins (Sonny Burch), Randall Park (Jimmy Woo), T.I. (Dave), David Dastmalchian (Kurt), Judy Greer (Maggie), Bobby Cannavale (Paxton), and Michelle Pfeiffer (Janet).

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2016, Action/Adventure, ★★

Captain America: Civil War (2016, Anthony Russo and Joe Russo)

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I wasn’t aware it was possible, but go-to Marvel superhero movie composer Henry Jackman is actually getting worse as he does more of these movies. His score for Captain America: Civil War is laughable, which is too bad, because if the film hit the thematic beats Jackman failed to achieve? Well, it wouldn’t fix the script, but it would definitely make the film flow a bit better.

The film is two and a half hours of action scenes every ten minutes or so. Unless the action scene goes on for longer than ten minutes, in which case it screws up the rhythm of subsequent scenes. But directors Russo keep it on schedule. Their job is getting this train ride to its conclusion and they do it. Their action direction is a bunch of sped-up fight scenes and they’re usually pretty boring. The opening one, with its strong performances from the way too big cast, could’ve been amazing with better direction. And the big superhero showdown is awesome for the most part, only… it doesn’t make much narrative sense as far as keeping the players in motion.

But there’s a lot quite good about Civil War. They blow the chance to give Robert Downey Jr. an actual character to play here, but they get pretty close on occasion. His scenes opposite Tom Holland are fantastic and Christopher Markus and Stephen McFeely’s script does give Downey the opportunity for character development. The film just rejects it.

The real standout is Sebastian Stan, who never quite gets enough to do because there’s always another action scene for the Russo Brothers to get through–they have a really lame chase sequence, more is usually just more–but Stan is hypnotic. He also has great chemistry with ostensible lead Chris Evans (and Evans’s replacement sidekick, Anthony Mackie). Less action, more character; would’ve helped Civil War a lot. Especially since that way too big cast is often pretty good together.

Elizabeth Olsen is good, she and Paul Bettany are great together. Bettany’s got a bit of a crap part. So does Jeremy Renner, but Renner does get better material. Markus and McFeely–or maybe it was the Russo Brothers–seem to acknowledge they need to hit emotional beats and then they skip them. Paul Rudd’s fun, though his character’s pretty thinly written. William Hurt is embarrassing himself. Emily VanCamp gets the worst part in the movie. Seemingly intentionally.

As for the newcomers to the brand? Well, Holland’s great. He’s playing the Marvel Studios (sorry, Walt Disney) version of Spider-Man. Can’t wait for his movie. Chadwick Boseman’s fine as the Black Panther. It really ought to be his movie, but there’s so much pretending it’s Evan’s. Instead, Boseman’s basically Boba Fett. Sort of literally. Villain Daniel Brühl gets a terrible part (though still better than VanCamp) and not much opportunity to act.

Rather weak cinematography from Trent Opaloch, but otherwise Civil War is a completely competent outing.

There’s a lot of potential to this film and the filmmakers didn’t go for any of it. Instead, they went for a bunch of mediocre action scenes, one heck of a superhero battle (proving having ten superheroes fight on the big screen is an accomplishment in itself) and a really weak ending.

Evans and Downey both look exhausted throughout the film. Evans doesn’t get the material he (and the film) deserves, while Downey rejects the material. But until the denouement, it’s perfectly fine stuff.

And Sebastian Stan is truly phenomenal.

2/4★★

CREDITS

Directed by Anthony Russo and Joe Russo; screenplay by Christopher Markus and Stephen McFeely, based on the comic books by Joe Simon and Jack Kirby; director of photography, Trent Opaloch; edited by Jeffrey Ford and Matthew Schmidt; music by Henry Jackman; production designer, Owen Paterson; produced by Kevin Feige; released by Walt Disney Pictures.

Starring Chris Evans (Steve Rogers / Captain America), Robert Downey Jr. (Tony Stark / Iron Man), Sebastian Stan (Bucky Barnes), Daniel Brühl (Zemo), Chadwick Boseman (T’Challa), Anthony Mackie (Sam Wilson / Falcon), Scarlett Johansson (Natasha Romanoff / Black Widow), Elizabeth Olsen (Wanda Maximoff), Emily VanCamp (Sharon Carter), Don Cheadle (War Machine), Jeremy Renner (Clint Barton), Paul Bettany (Vision), Paul Rudd (Scott Lang) and Tom Holland (The Amazing Spider-Man).

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