ORANGE COUNTY (2002)

Directed By: Jake Kasdan 
Written By: Mike White 
 Cinematography By: Greg Gardiner 
Editor: Tara Timpone 

Cast: Colin Hanks, Jack Black, Schuyler Fisk, John Lithgow, Catherin O’Hara, Leslie Mann, Carly Pope, Lily Tomlin, Chevy Chase, Dana Ivey, Brett Harrison, Natasha Melnick, Harold Ramis, Kyle Howard, Mike White, Fran Kranz, Nat Faxon, Monica Keena, Lizzy Caplan


Shaun Brumder is a local surfer kid from Orange County who dreams of going to Stanford to become a writer and to get away from his disfunctional family household. Except Shaun runs into one complication after another starting when his application is rejected after his dim-witted guidance counselor sends the wrong application. So, Shaun goes to great lengths with a little help from his girlfriend Ashley and his drugged-out loser brother Lance to get into Stanford any way they see fit.

Screenwriter, Mike White seems so seething with ideas and quirky characters ready to bust out on screen. You want to follow in further stories and adventures with the characters. So they usually feel like extended pilots for a new series. Maybe it’s his background in television writing. In turn, his television series always seem like set-ups for films. While he is usually a writer-director here he only handles the script.

Jake Kasdan directs the film. He usually is an inspired comedy director. He has a more subdued, subtle dead own style when it comes to style and scripts. with films like ZERO EFFECT, BAD TEACHER and THE TV SET

This feels like a film that is distracted as we see the cavalcade of well-known actors. Half the time the film’s scenes feel like a set-up for a celebrity cameo. Like there are most to the other characters but we only get to see them at their craziest. Trying to make the celebrities more recognizable or introduce them to a younger audience. The film also plays it smart even when stupid.

This film feels like an MTV film while it tries to match its demographic and quirky style for a built-in audience. That leaves the film inspired but also grasping for something. So that it works more times than not, but still doesn’t shine. Maybe because it seems to try too hard.

Jack Black plays well in the film. What a lot of critics have labeled him, as here I found him quite humorous. As the film has a bunch of standout hilarious scenes, Involving him, but though top-billed he is more here as a supporting actor.

The film’s humor is more sold by more minor performances and supporting characters. Rather than the set-up’s

The leads and the director are both children of Hollywood superstars. They more than hold their own though these are ones they could play in their sleep.

This film feels like a minor work not deep at all. It’s mildly amusing. All could do better and have this seems to like them trying to be more mainstream.

Plus the premise of the film is that his writing is so good because of the characters in his stories. Only they aren’t characters as much as real people. So he is just writing his real-life not that creative. Which is what goes against the premise. At least as far as the ending goes. And seems dependent on.

Plus it feels like his decision at the end is supposed to be heartwarming. It more feels deceptive like he needs more material and inspiration.

Through as much as I criticize. I find myself re-watching it from time to time. It has a highly rewatchable quality. The film is short and sweet. It’s a fun time while it lasts, but never comes close to being a classic

I can’t call it a good movie, more of a precious film that doesn’t seem forced. That younger people can look at it like it belongs in a museum. Like our own personal definite gift shop as a souvenir for others to share and see.

It really says you are a good writer. If you can tell the truth and bring it all together to be told vividly for an audience.

GRADE: C+

FLIRTING WITH DISASTER (1996)

Written & Directed by: David O. Russell

Cinematography: Eric Alan Edwards

Editor: Christopher Tellefsen 

Cast: Ben Stiller, Patricia Arquette, Tea Leoni, Josh Brolin, Richard Jenkins, Mary Tyler Moore, Alan Alda, Lily Tomlin, George Segal, Celia Weston, David Patrick Kelly, Nadja Dajani 

Five months after the birth of his son, Mel Coplin remains unable to name the child until he has met his own biological parents and discovered who he “really is.” He, his wife Nancy, and his social-worker-in-training Tina Kalb jet off to California to meet his birth mother–who turns out not to be his mother, due to an error with the agency’s adoption records. The quartet sets out in search of Mel’s real parents, with tensions growing because of the sexual chemistry lacking between Mel and Nancy and growing between Mel and Tina.


This film is made in a classic screwball comedy type manner, but it feels more intellectual than these films. As it swings from out and out wacky comedy to more witty humor. So that it feels like a modern for that time Woody Allen movie. Only with his earlier anarchic spirit behind the camera.

The film often goes for shocks in it’s comedy but doesn’t feel blatant and ends up more subtle at times.

Each of the characters perfectly complements the ensemble as each of them appears fairly normal, but as we get to know then their dysfunctions or freaky side is revealed and they are so one of a kind many of them. Could have a whole film built around them.

Though the film is shot small and more like an independent film. Where at first we are in The cramped apartments of New York where it feels overwhelming and tight. As there are scenes that take place more indoors and feel closed off. Once they hit the open road it offers more abundance.

Though the way the camera keeps moving and shooting. It’s shots make it look like the camera like the performers are always exploring be it themselves, space, or boundaries. Which as a viewer excites you as you are never quite sure what will happen next and it keeps you laughing.

The timing And delivery of the jokes and performances as well as the direction are all on point.

The ensemble cast that would be seen as an all-star cast now. Seem more like they are improving like a jazz standard jam. Riffing off of one another and carrying the beat. Though while sure improv was involved it seems like the film was actually tightly scripted. Though when dialogue as said. It seems like it was thought up on the spot.

This is a comedy that delivers real surprises when you don’t expect them.

The strength behind the film is writer/director David O. Russell. He pulls the film together. Cinematically It’s impressive, script-wise it’s impressive and the performances he gets from his cast are amazing. As they go from serious to wacky in an instant. He usually can find laughs and comedy in situations that are not the usual places most would even go looking. Especially in dire depressing situations. Not only with this film but with films

Like his directorial debut SPANKING THE MONKEY (a rather depressing comedy about incest) I HEART HUCKABEES, THREE KINGS, AMERICAN HUSTLE, JOY, THE SILVER LININGS PLAYBOOK, and THE FIGHTER. He shows range, talent, and a certain composite. Where you can’t say there snot if his films are the same.

The casting in this movie is inspired as ben Stiller doesn’t seem as in control here nor are his reactions with his usual acting tics in this movie. This seems like one of the last times he would be this pristine performance. Though he usually plays this type of character.

Tea Leoni and Patricia Arquette get to show off their talents. Tea Leoni in a more offbeat styled character who was usually played at that time by Parker Posey. She really shows her chops in a role she rarely gets to do these days more the neurotic sex pot who dresses more like a femme fatale. Who always seems in control but might be just for appearances.

Patricia Arquette has an almost leading lady form and is that attractive girl next door quality as Stiller’s wife.

Mary Tyler Moore as his overbearing Jewish mother. Who likes to show how good her body still is in shape. She tries to steal the movie but is in her realm in a role that at first looks like stunt casting but actually works out well.

Josh Brolin being more comedic and open than usual as a gay/bi FBI agent who tags along on the ride.

This film is a treat I regret not seeing in theaters. As I tried but disappeared fast. Though luckily saw it as soon as it was available on home video. Though I will admit It was A film that had to grow on me. Like the first time, i saw it. I thought it was funny but not hilarious. As I watched it over the years it has won me over. As I began to notice the layers and construction of Jokes, scenes, shots, and characters. It’s an underrated film that needs to be revisited and Given more credit.

Definitely an addition to the home library.

Grade: B+

BIG BUSINESS (1988)

bigbusiness

 

Directed By: Jim Abrahams
Written By: Dori Pierson & Marc Rubel
Cinematography By: Dean Cundey
Editor: Harry Keramidas 


Cast: Bette Midler, Lily Tomlin, Fred Ward, Edward Herrmann, Barry Primus, Michael Gross, Mary Gross, Seth Green, Deborah Rush, Joe Grifasi, John Vickery, J.C. Quinn, Patricia Gaul 


In the 1940s in the small town of Jupiter Hollow, two sets of identical twins are born in the same hospital on the same night. One set to a poor local family and the other to a rich family just passing through. The dizzy nurse on duty accidentally mixes the twins unbeknown to the parents. Our story flashes forward to the 1980s where the mismatched sets of twins are about to cross paths following a big business deal to close down the Jupiter Hollow factory.

Continue reading “BIG BUSINESS (1988)”