Tag: Bob Odenkirk

  • ‘Little Women’ lands big

    ‘Little Women’ lands big

    Laura Dern, Meryl Streep, and Florence Pugh in Little Women

    “Sisters function as safety nets in a chaotic world simply by being there for each other.” – Carol Saline

    Little Women is one property I have not had much exposure to. Prior to the 2019 film, my only experience with it was The March Sisters at Christmas. This version is certainly superior to that, and indeed better than Greta Gerwig’s previous directorial efforts.

    Jo (Saoirse Ronan) is one of four daughters close in age. She is younger than Meg (Emma Watson) but older than Beth (Eliza Scanlen) and Amy (Florence Pugh). Each has her own interests and goals, which for the central figure of Jo is to read and write, eventually as a profession. 

    Switching back and forth between time periods of a seven-year gap – during the Civil War and after it – we see how they get by with their mother (Laura Dern). They live next to a wealthy boy (Timothée Chalamet) and his grandfather (Chris Cooper), who become quite close with the family. Then there’s the wealthy Aunt March (Meryl Streep), who makes visits here and there to berate their less than lavish conditions.

    Also unlike past versions, the two younger girls are played by the same actresses in both time periods. This makes it a bit unclear whether the characters are meant to be aged up from the book or we really are supposed to see them as tweenagers. Because if it’s the latter, nope, not buying it. Amy has more dimension to her, coming across as greater than the bratty twerp that the character has a reputation of being. Going a long way towards achieving this is the performance from Pugh, who’s definitely the breakout actor in the bunch.

    From what I can gather, the non-linear storytelling is wholly unique to this version. Due to the lack of multiple actors for the different ages, it can be a little confusing until you realize that it’s going on. For viewers familiar with the typical story layout, the rearrangement provides an interesting time in trying to predict where the pieces will fit. Despite the shake up, the story does not seem to be robbed of any thematic resonance nor anything appear conspicuously misplaced.

    However, there’s a bizarre meta-narrative to it all. What’s described above are actually part of a fictional story from a framing scenario where Ronan is alternately pitching to a publisher (Tracy Letts) and working on it. I suppose that it’s meant to echo the trials that Louisa May Alcott went through to get her book out there, it’s just kind of unnecessary. Also, there are really strange bits where a character will speak in voiceover, then be shown talking directly to the camera. These doesn’t occur too frequently, but whenever they do, they’re really jarring and disruptive.

    I’m not sure that this iteration will necessarily replace anyone’s favorite version for those who already have them, but Little Women 2019 is a worthy addition to the legacy. Now on to checking out the 2018 version, and then the 2017 one, then…

  • Cast a vote for ‘Long Shot’

    Cast a vote for ‘Long Shot’

    Seth Rogen and Charlize Theron in Long Shot

    “The past is never where you think you left it.” – Katherine Anne Porter

    One year from now, the United States presidential election will completely dominate daily discourse. At this moment, anticipation is building for just who will end up competing and prospective candidates are out there trying to convince the public they’re the best fit for the job. Naturally, the movies have tried to cash in on this fever, and Long Shot is one of the better efforts.

    Though regurgitating some genre conventions and featuring a sense of humor that isn’t for everyone, this film gets by more than well-enough thanks to the charms and abilities of its stars. It’s a team-up that sounds like it shouldn’t work, but it does and amazingly so.

    U.S. Secretary of State Charlotte Field (Charlize Theron) has just learned that President Chambers (Bob Odenkirk) won’t be seeking another term and would like to endorse her to run in 2020. Gearing up for a campaign trail, her strategist (Lisa Kudrow) shows that favorable opinions of her are high, but a little lacking in the humor category. Fred Flarsky (Seth Rogen) has just resigned as a reporter for a small-scale left-wing news outlet when they are taken over by a giant media conglomerate. Unable to bounce back and feeling low, he is taken by his best friend Lance (O’Shea Jackson Jr.) to a fancy party with big time guests like Boyz II Men and, unbeknownst to him, Charlotte.

    At that party, Charlotte and Fred bump into each for the first time in a quarter-century. As it turns out, they were neighbors growing up and she used to babysit him. This culminated in a very awkward and embarrassing declaration of love from Fred that left things on a sour note for him all this time. Fortunately, Charlotte doesn’t seem to remember the incident, and after he publicly chastises the mogul who bought his paper (Andy Serkis), someone who she also has a strong dislike of, she hires him as a speechwriter to help give her some more funny lines. In reconnecting, they find themselves not only crafting more honest and personable speeches, but also becoming lovers.

    The romantic comedy story beats are familiar and fit to pattern, but a little different in that they’re playing out within an uncommon context. Charlotte’s assistant Maggie (June Diane Raphael) frequently has to urge her boss to be conscious of her public image, and Charlotte herself is afraid that being the one with power will be a turn off as it has proven to her in the past. Fred’s inevitable clashes with Charlotte come in the form of stances on her official duties and what one would like to do versus what they’re forced to do.  

    For the most part, the political parties are made vague. Fred is certainly a leftist, but it’s said that he reported on corruption of the Chambers administration, which would seem to imply that the President and Charlotte are on the right. Yet, she is not lionized and in fact held to scrutiny by the presumably-conservative news channel, and of course Fred is willing to work with her. Also her main initiative in the plot is an environmental one, which is conservative in the literal sense but often taken up by the other side as well. The words “Democrats” and “Republicans” are mentioned specifically in dialogue towards the end, but still not said who of the politicians belong to which.

    The humor therefore isn’t really high-minded satire and leans more to Rogen’s comedy oeuvre than Theron’s, but the latter does show that she is completely game for whatever is thrown at her. She can certainly handle the stateliness aspect of the role, giving off an Elizabeth McCord vibe at those points. When it’s time to go into Selina Meyer mode and be crude, though, she gets right into it. Rogen, already reliable for this kind of material, gets some good physical bits in this time. And while underused, Jackson shows that comedically he’s a chip off the ol’ Cube.

    If this type of comedy doesn’t put you off, consider giving this one a, um, shot. Real-life elections sure aren’t as funny as they used to be.

  • Extra, Extra, see ‘The Post’

    Extra, Extra, see ‘The Post’

    Tom Hanks and Meryl Streep in ‘The Post’

    “When the public’s right to know is threatened, and when the rights of free speech and free press are at risk, all of the other liberties we hold dear are endangered” – Christopher Dodd

    “What I’m thinking about more and more these days is simply the importance of transparency, and Jefferson’s saying that he’d rather have a free press without a government than a government without a free press” – Esther Dyson

    Steven Spielberg’s The Post opens at a time when Daniel Ellsberg (Matthew Ryhs) is in Vietnam, as an observer attached to a combat unit.  Fast forward to 1971 and Washington Post editor Ben Bradlee (Tom Hanks – Bridge of Spies) is worried.  Neil Sheehan (Justin Swain), brilliant investigative journalist for the New York Times hasn’t been seen in weeks.  That probably means he is working on something big.  He sets out to find out just what Sheehan is working on and to try to scoop the Times.

    What Sheehan is working on is now known as The Pentagon Papers.  It was originally titled “United States – Vietnam Relations, 1945-1967: A Study Prepared by the Department of Defense” and Ellsberg had access to the copies of this large document being kept at the Rand Corporation.  The New York Times beat The Post and everyone else to the punch, publishing their first story on the subject on June 13, 1971.

    It was a turbulent time for The Post.  Katherine Graham (Meryl Streep – August: Osage County) has been the paper’s publisher since her husband Phil had committed suicide eight years earlier.  She is in the process of taking the paper public with an Initial Public Offering (IPO).  One piece of the boilerplate contract language in the deal allows the investment bank handling the offering to rescind the issue within the first week due to a major negative event that could jeopardize the paper’s financial health.

    After the first New York Times story on the subject, Ben Bradlee wants the Pentagon Papers very badly.  Especially after the Nixon Administration goes to court and wins a preliminary injunction barring the Times from publishing more of the Pentagon Papers until another legal proceeding.  He asks Katherine Graham to get a copy of the papers from her good friend Robert McNamara (Bruce Greenwood – The Place Beyond the Pines), the former Secretary of Defense who had been the one to order the study.

    Ultimately The Post obtains a copy directly from Daniel Ellsberg, who is located by Ben Bagdikian – (Bob Odenkirk – Nebraska), assistant managing editor of The Post.  They’d met years earlier in California.  With over 4,000 pages of Pentagon Papers in two cardboard boxes, Bagdikian rushes back to Ben Bradlee’s house.  There, they and other key members of The Post write their story.

    Bob Odenkirk as Ben Bagdikian in ‘The Post’

    Then comes the key question.  Do they publish?  The lawyers say no.  Katherine Graham’s advisors, Fritz Beebe (Tracy Letts) in particular are telling her not to.  Ben Bradlee and his people are urging her to go ahead.  The stakes are enormous as publishing could cause the IPO to go awry.  After they publish comes another court battle and then the final showdown in front of the U.S. Supreme Court.

    While Meryl Streep and Tom Hanks almost always generate Oscar buzz with their performances, their combine work here is very good but perhaps not up to that level.  Bob Odenkirk is spectacular in his portrayal of the rumpled and altogether ordinary looking survivor of the Armenian Genocide.  Sarah Paulson and Allison Brie both shine in small supporting roles.

    USA Today reports that Steven Spielberg said this regarding the making of The Post.. “When I read the first draft of the script, this wasn’t something that could wait three years or two years — this was a story I felt we needed to tell today.”  He was right on the money.  This film tells us about one of the most important moments in the history of a free press, and it is a reminder that more than ever, we need the press to remain free of government interference/infringement.  But anything I could write on this subject would come nowhere near to articulating that fact as the opinion of Justice Hugo Black in his concurring opinion with the decision of the United States Supreme Court in the case New York Times vs the United States.  You can read his complete opinion here.  This particular passage says it all:

    “In the First Amendment, the Founding Fathers gave the free press the protection it must have to fulfill its essential role in our democracy. The press was to serve the governed, not the governors. The Government’s power to censor the press was abolished so that the press would remain forever free to censure the Government. The press was protected so that it could bare the secrets of government and inform the people. Only a free and unrestrained press can effectively expose deception in government. And paramount among the responsibilities of a free press is the duty to prevent any part of the government from deceiving the people and sending them off to distant lands to die of foreign fevers and foreign shot and shell. In my view, far from deserving condemnation for their courageous reporting, the New York Times, the Washington Post, and other newspapers should be commended for serving the purpose that the Founding Fathers saw so clearly. In revealing the workings of government that led to the Vietnam war, the newspapers nobly did precisely that which the Founders hoped and trusted they would do.”

  • Alexander Payne’s ‘Nebraska’ is well-worth the journey

    Alexander Payne’s ‘Nebraska’ is well-worth the journey

    Bruce Dern gives the performance of a lifetime in 'Nebraska'
    Bruce Dern gives the performance of a lifetime in ‘Nebraska’

    Just to clear things up for some of the people who were sitting near me when I watched Nebraska, the terrific new film from director Alexander Payne (Election, Sideways, About Schmidt, The Descendants), it has no connection to the album of the same name by Bruce Springsteen.  Bob Nelson based his screenplay on his own experiences visiting a small town in Nebraska and from news stories about people showing up at the offices of Publisher’s Clearing House, believing they’d won the big sweepstakes prize.

    “Woody Grant” (Bruce Dern) thinks he has won that big prize.  He and his wife “Kate” (June Squibb) met, married and lived a good chunk of their adult lives in Hawthorne, Nebraska before relocating to Billings, Montana.  It is in Billings that the film opens with Woody’s son “David” (Will Forte) having to go to pick up his father at the police station.  Woody was planning to walk the 800 or so miles to Lincoln, NE to claim the million he’s convinced he won.  After all, he got a letter saying he’d won, somehow ignoring the conditional “if” portion that made winning contingent on his number having been selected.

    David doesn’t agree with his mother or brother “Ross” (Bob Odenkirk) that it’s time to put Woody in a home.  Realizing his father really wants to make this trip, and that it would be a chance to spend some of whatever time Woody may have left with him; so he decides to drive him to Lincoln.

    nebraska4 (500x351)
    Will Forte, Bruce Dern and Stacy Keach in a small bar in Hawthorne, NE in ‘Nebraska’

    After some interesting adventures along the way, they wind up in Hawthorne, forced to spend the weekend there.  Family gathers and as word of Woody’s good fortune spreads, everyone wants to congratulate and make a fuss over him.  Then there is his old business partner “Ed Pegram” (Stacy Keach) who wants more, along with some family members who want to share in Woody’s newfound wealth.  The plot thickens when Kate and Ross come to Hawthorne.

    Payne makes brilliant films and this is no exception.  Many of the familiar themes of his movies are present here.  Infidelity.  Travel.  Complex relationships between parents and children.  But there are also differences.  Perhaps this is due to the fact Nebraska is the first film of Payne’s where he did not write the screenplay.  If that’s the case, he chose the perfect vehicle with which to begin directing the works of others.  Nelson’s script is very funny, moving and combines drama and humor in perfect balance.  It also shows just how difficult the dynamic between parent and child is when the child is an adult and must take on more of a caretaking/parenting role.  A deft touch is needed to do this without humiliating the parent.

    Bruce Dern and June Squibb are perfection in 'Nebraska'
    Bruce Dern and June Squibb are perfection in ‘Nebraska’

    The choice to shoot in black and white was an inspired one.  It helps to paint the portrait of the fictional town of Hawthorne as stark and barren as well as highlighting what seems to be a limited amount of emotional connections between the main characters.  The feelings are there, buried beneath the façade that decades of troubled relationships will create.

    Bruce Dern gives what is probably the best performance of his life.  Known most for his portrayal of villains and heavies, this performance is reminiscent of his more understated performances, like Smile and Middle Age Crazy.  His Woody is restrained but still incredibly well-done.  More so because the character is actually quite limited in scope.   June Squibb is wonderful as Kate, as plain-spoken and graphic as Betty White was in Lake Placid.  They both, along with Will Forte, are worthy of consideration as awards season approaches.

    I look forward to seeing Nebraska again.