Tag Archives: the big sick

The Worst and, more importantly, THE BEST of 2017, so far

So, as I am the grand arbiter of all things film, I’m officially calling the summer movie season at its close. Alas Logan Lucky, The Glass Castle, or Annabelle: Creation, you’re all part of the fall movie season. However will you survive?

And at the close of summer movie season, we’re essentially halfway through the movie year. I know we’re more than halfway through the calendar year, but trust me, that back half is always as packed as it gets. There’ll end up being things that are Oscar nominees that aren’t even on our radar right now. The worst movie of the year is likely still yet to come (though it’s hard to imagine right now).

But since I’m a fiend for lists, let’s make one, shall we? Let’s give a few check-ins and see where we are, starting with the worst (because it gets the attention) before taking a full celebration of the best.

Bottom 5 Films of 2017 So Far

5) The Dark Tower

Idris Elba

Ahh, The Dark Tower. The best franchise that will never quite be. Based on Stephen King’s series of epic fantasy western Lovecraftian meta-novels, some much smarter studio could have had a new Game of Thrones on its hands. Alas, it was in the hands of Sony and they instead produced a fall flat on its face. A mess of bad studio production, The Dark Tower wastes its actors, murders its pacing, and takes all the material and tosses it out the window for a mid-90s adaptation premise. Any film that features Matthew McConaughey saying “I see you’re still impervious to my magicks” with a straight face has an uphill battle. The Dark Tower doesn’t win it.

4) The Circle

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A bland mess of technophobia, I really just feel bad for the people involved here. The Circle is Black Mirror without the brains or heart, an aesthetic rip-off by a huge number of people who should be able to make some better stamp. Staring a pitch-perfect satire of late capitalism in the face, The Circle is content to shake its fist at social media and ultimately end up going nowhere.

3) Transformers: The Last Knight

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Look, who the living fuck expects anything out of this franchise at this point? The best Transformers has ever been able to aspire to is Bay’s weird hypercompetencies managing to shine through the material. But when they don’t, it’s the same thing that happens every goddamned time: A mess of story with awful design with a runtime that lasts for aeons.

2) Ghost in the Shell

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A pile-up of decisions so bad that you’re more baffled that it ever happened than mad that someone chose to do it. That all said, this is a film that was never going to be great and still manages to enrage far above its station. A messy script, terrible direction, and boring setpieces would sink any movie, but a movie that white-washes like this one does deserves all the ire that can be thrown. When your material is so fertile with intellect, you can’t be this fucking stupid in putting it together.

1) The Book of Henry

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Colin Trevorrow is a rare sort of filmmaker, one who in a past era would have perhaps been run out of town after town after the people found out his snake oil elixirs just weren’t working. The Book of Henry is his raw nerve put on screen. Excessively manipulative, baffling in every plot point put on screen, and a masterpiece of inhuman behavior, seemingly put together by a man who’s never met a human but is fairly certain he knows how they work. Fuck this movie.

The Big Sick is a wonderfully specific story of love and culture

I think the biggest success of any movie is it being able to pierce past your own personal knowledge and hang-ups and lose yourself in the actual world of the movie. This is what a lot of “Based on a True Story” movies miss. Even if the story is significant, the significance of that story has to exist within the movie itself, it needs to unfold the same way if you DO know the story as if you DON’T know the story.

The Big Sick is based on a true story that is known largely to a small contingent of massive comedy nerds. Kumail Nanjiani and Emily V. Gordon, husband-and-wife alt-comedy darlings, wrote the movie based on their real life romance, wherein Kumail was a young stand-up who fell in love with Emily (Zoe Kazan), but their relationship falls apart when Kumail can’t tell his strict Muslim parents (Anupam Kher and Zenobia Shroff) about their relationship and break their wishes for him to have an arranged marriage.

That clean culture-clash breakup hits a snag when Emily gets terribly sick and has to be put into a medically-induced coma. Kumail is the only one around who can help her, until her parents Beth (Holly Hunter) and Terry (Ray Romano) show up, tense and angry at Kumail and the only people who can understand what he’s going through.

I’m coming at this movie from an admittedly different place than much of the audience. I mentioned that this story is mostly known to comedy nerds, and I would certainly count myself among that number. I’ve also spent ample time listening to the podcast and video output of Emily and Kumail, and as with anyone you spend an hour or so a week pumping their talking in your ears, you feel like you get to know them.

So, this is a story and a depiction that’s definitely a little closer to my heart and a story that almost can’t hold any surprises. I give all this context to make clear the effectiveness of this movie. I know these people, I know this story, and I still got almost effortlessly wrapped up in every little turn along the path to the destination I already knew.

It’s not hard to attribute a lot of that to Nanjiani and Gordon’s crackling script. Loaded to the brim with raw dialogue and some great jokes (including probably the best 9/11 joke I’ve ever heard), there’s such a wonderful cultural and emotional specificity, drawing off all of these very real experiences. It feels like a singularly-told story in its nuance, the honest fights being relived as well as the triumphs. It doesn’t fall too deep into any cliche depictions, but it does know its genre well enough to navigate what works.

What it also does it give great characters for its actors to latch onto. Kazan may have the most thankless role here (she’s in a coma for most of this movie’s second act), but she does some wonderful work with what she’s got. Shroff and Kher, playing Kumail’s parents, give a lot of careful work to roles that manage to not just feel like villains, but people with their own culturally-ingrained mindset.

Much very due praise has been given to Ray Romano and Holly Hunter in this movie, and I want to echo it. Each find a deep well of sweetness and compassion, the kind of parents you want to root for even beyond the situation they’ve been put in. Both are going to have a lot of attention come awards season and each absolutely deserves it.

But I want to give a little extra space to talking how good Kumail Nanjiani is as a lead here. He’s such a nontraditional romantic lead in a lot of ways, but he sells all those traditional traits, that charm and that wit and that genuine need to grow. He sells the journey so well at both the dramatic and comedic moments, he feels awkward without ever feeling uncomfortable. Nanjiani is just too good, a lead who you root for but never feels like he’s anything less than the persona he’s created.

Of course, that also owes dues to director Michael Showalter. While he’s certainly no technical wizard, his locked down style benefits a movie about conversation and relationships, holding every moment just long enough and cutting things at just the right time. Some weird editing here and there, but his framing of the story is almost flawless, keeping it from ever spiraling too far past its real, raw roots.

Those raw roots in what are clearly some real pains and feelings. Nanjiani and Gordon’s script digs deep into not just bridging the gap between two different cultural expectations, but more deeply into making decisions that you were never expected to make. It’s most potent moments come from those defiances, of turning your back on the only thing your parents wanted for you, or for having feelings you never though you would.

But let it not sound like this is some ponderous indie drama. The Big Sick is a riotously funny movie and one with a deep well of compassion and sweetness. A crowd-pleaser and the sort of unabashedly romantic story that inoculates against easy cynicism.

Grade: A

 

 

My Most Anticipated of 2017 (That I’ve Actually Heard Anything About)

As we close off the last year in film, it’s time to look forward to the next one. It’s one of the most fun parts of any film year, when all the blockbusters and big prestige dramas lay before us full of possibility, all the Sundance pictures are still in the happy festival haze before the backlash and shocking revelations get started.

Of course, I want to be a responsible critic and manage expectations. That means that I want to limit the films that I’m looking forward to that those that have evidence. In other words, things that have trailers, reviews from festivals, or just some actual news on what the movie could be. It would be also be nice to have a proven track record. In other words, actual evidence from past successes or previous films in the series

In other words, sorry to Kingsman: The Golden Circle, Star Wars: The Last Jedi: Thor: Ragnarok, and Justice League who are only up in the header image. Bait and switch, I know. But between no news, being too early for news, or being directed by Zack Snyder in Warner Bros.’ DCEU, there’s no reason to get excited just yet. But don’t despair! Here’s a few things you can be excited for!

Baby Driver

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Thinnest cling to the premise of the article, I know. But Baby Driver comes to us from Edgar Wright, one of the few filmmakers in Hollywood who’s earned enough trust to jump out on whatever ledge he asks. Besides, we’ve seen what the film looks like and we know what it’s about! Baby Driver is a crime picture starring Ansel Elgort as a mute getaway driver who gets caught up in a robbery that goes wrong.

Did I mention that Elgort plays a character who drives to music and that therefore the entire movie will have its action sequences set to a ever-rotating soundtrack? Because if you’ve ever seen any other Edgar Wright movie, you will know that merging soundtrack with action is one of his specialties, and that if he’s given a chance to set a whole movie on that idea? You should be buying tickets now.

The Big Sick

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One of the first darlings of this year’s Sundance Film Festival, this one comes from the husband-and-wife comedy team of Kumail Nanjiani and Emily V. Gordon, LA comedy scene darlings now turned screenwriters. The Big Sick is directed by Michael Showalter and based on the true story of how the two of them met and got married, it stars Kumail Nanjiani as Kumail and Zoe Kazan as Emily.

Kumail is a struggling comic who gets heckled by Emily at one of his shows. The two quickly fall for each other, but run up against a roadblock when Kumail refuses to stand up to his traditional Muslim family, which leads to their break-up. Emily, however, falls ill and Kumail is the only one in the area who can take care of her and must deal with his parents, her parents (Ray Romano and Holly Hunter), and his own need to grow up.

Sundance du jour from the sound of it, but the reviews have pointed towards a romantic comedy that is filled with specificity (thanks to its real life draw) and knowledge of its genre with able acting and filmmaking.

Blade Runner 2049

The sequel that we never should have been excited for, Blade Runner 2049 quickly got us (okay, me) on its side with perhaps one of the only teams that could do any justice to the classic original. Director Denis Villeneuve, hot off the Oscar-nominated Arrival! Cinematographer extraordinaire Roger Deakins! A cast that includes Harrison Ford, Ryan Gosling, Robin Wright, Mackenzie Davis, Barkhad Abdi, Dave Bautista! Also Jared Leto is there. The recipe looks to be for success.

The trailer only seems to show that it’s coming together. Barely anything revealed, but it showed a world that clearly picks up off the visually distinctive original, a lot of progress, and an intriguing mystery to come. It could be still on the pile of bad ideas, but this one looks like it has the muscle to lift itself out.

The Fate of the Furious

Speaking of muscle.

This is not an ironic thing. I really do earnestly love these movies. It’s a big budget action franchise that knows it can’t and shouldn’t take itself seriously, and instead leans into the talents of its cast and into ever increasingly pushing the size and scope of what it’s covering. The Fate of the Furious looks to absolutely pick up on that, dropping a story epic in scale, pitting an apparently traitorous Dominic Toretto (Vin Diesel) now working with an evil tech terrorist (Charlize Theron) against his former friends, now seemingly led by Agent Hobbs (Dwayne Johnson). It’s a movie that’s going to have a full blown Arctic car chase with a submarine getting involved. How do you not love that?

Get Out

Key & Peele was long one of the most exciting shows in comedy, and much of that came with the eponymous duo’s surprising knowledge of genre tropes and the filmmaking required to indulge them. So when Jordan Peele splits off to finally make a genre picture, you should stand up and take notice.

This was Sundance’s surprise midnight screening this year, and reactions out of there are suitably impressed with Peele’s confident first-time direction as well as the movie’s nuanced take on racial issues, aimed more at the subtle ways that the seemingly well-meaning perpetuate racism and the daily existence of Black men.

A Ghost Story

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A small film made almost entirely in secret, no one knew quite what to expect when David Lowery showed up at Sundance with a film starring Rooney Mara and Casey Affleck filmed in a little over two weeks after his gorgeous big-budget Pete’s Dragon. Excitement began to percolate with A24 picked it up before its debut.

Word out of Sundance is that it does not disappoint. A gorgeous and entirely unique film with some serious shit on its mind about love, death, and time (THAT’S RIGHT. TAKE SOME NOTES COLLATERAL BEAUTY YOU MONSTER). Lowery is one of our most exciting filmmakers and I’m thrilled to see him refuse to rest on his laurels.

John Wick: Chapter 2

John Wick was one of the best action films of 2014 and the 21st century so far. That’s pretty much all you should need to get excited for John Wick: Chapter 2. More of Keanu Reeves’ enigmatic assassin, more of the impressive worldbuilding the first one pulled off, and hopefully more mindblowingly well-done setpieces. John Wick: Chapter 2 really needs nothing more than its previous sequel and the promise of expansion as he’s beset on all sides by assassins looking to kill him all around the world.

Logan

I know, it’s weird for me that I’m looking that much forward to an X-Men movie too. But Logan‘s feverish and melancholy broken-down Western vibe is majorly working for me, as well as the promise of an actual look at the legacy that this long-lived franchise has managed to create, specifically with Jackman’s Wolverine and Patrick Stewart’s Xavier. There have been some preliminary screenings of the first 40 minutes of this film that received absolute raves, so if this one can maintain that momentum as well as the surprising heart of its predecessor The Wolverine, Logan might be something actually great coming out of X-Men.

Mudbound

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If you aren’t familiar with the name Dee Rees, then you’re seriously missing out. Her 2011 debut Pariah is a sweet and fascinatingly nuanced coming-of-age queer tale with an extraordinary amount of directorial confidence and I’ve been dying for a big screen follow-up from her. Mudbound is that follow-up, a generational tale of race in the aftermath of World War 2 with a cast that includes Carey Mulligan, Jason Mitchell, Mary J. Blige, Garrett Hedlund and so many more. Early Sundance reviews name this as another favorite of the festival, a surprisingly epic film with that same directorial confidence and precision that she showed in Pariah. It’s great to see talent rewarded and I can only hope Dee Rees has a long career to come.

Valerian and the City of a Thousand Planets

This is the one I will most likely eat crow on, but I really don’t care. Valerian and the City of a Thousand Planet is a return by Luc Besson to the gonzo Sci-fi that characterized his best film, The Fifth Element. Valerian clearly holds nothing back, there’s so much creativity on display in its scope and its design. The fact that Besson always seems willing to go balls to the wall story-wise gives us the chance that Valerian might be able to actually be the sort of thing that goes over-the-top and earns being that truly insane visually. Plus, Dane DeHaan and Cara Delevingne being the leads might mean this thing could be up for the Oscar for “Most Eyebrows in a Movie.”