“You’re Fifty Years Old And You Still Think The World Was Made For You…”
Tackling notions of the mid-life crisis and looking back on a lifetime gone swiftly by, School of Rock writer, Mike White, directs and provides the screenplay for Brad’s Status, a low-key and pleasantly thoughtful comedy which utilises the leading star skills of Ben Stiller who returns to the big screen after a somewhat nonexistent cinematic footprint over the course of the past few years or so. Whilst Stiller’s comedy can somewhat not exactly hit the mark, take the likes of Zoolander 2 for instance, the emergence of White’s script and a wide range of lovely supporting performances from an extravagantly well-versed cast, proves to be a solid winning return for the comedic stalwart, and although the underlying narrative point of the movie is one which has been tackled before in a wide range of differing movies ranging from American Beauty to last year’s Ingrid Goes West, Brad’s Status is a cool, sombre and sometimes heartwarming drama which doesn’t ever feel the need to raise up from its’ subtle examination of its’ titular leading character.
Accompanying his son, Troy (Austin Abrams, Paper Towns) along the East Coast whilst they seek out potential future colleges, Brad Sloane (Stiller) reminisces about the success of his out of touch school friends whilst he contemplates his own life’s middling mediocrity, one which is full with seething regret and unwarranted shame in comparison to his long lost forgotten acquaintances. With the narrative primarily explained through the use of Stiller’s voiceover and some rather excessive yet undeniably comedic dream sequences which convey’s Sloane’s belief of his friend’s individual successes, White’s movie works primarily thanks to a brilliantly conflicted leading performance from Stiller alongside the grounding of its’ youthful cast, with the likes of Abrams and Shazi Raja counteracting Sloane’s contempt for the world by explaining its’ true riches in a It’s a Wonderful Life style monologue. Whilst the movie falls at times for swaying too much from the central narrative and limiting its’ actual comedic zingers to a minimal amount, White’s movie is still an interesting social drama which reinforces the idea that when put to good use, Stiller is still an important and welcome leading star.
Overall Score: 6/10
“Can You Imagine A World In Which We End Up Together…?”
Of the many cinematic releases within the Judd Apatow staple, there really isn’t many which I could regard as down and out, truly effective comedies, due in part to my tin-eared response to most examples of American-laden comedies, including the likes of Anchorman and Trainwreck, films which may have garnered an array of positive responses from many on release, but to me, just didn’t work on any level from which I can regard as comedic gold. With the release of The Big Sick however, a loose adaptation of the true-life events of leading star Kumail Nanjiani and co-writer Emily V. Gordon, such a film delightfully breaks the mould of mediocrity, taking a humane and totally believable leading narrative and having the extra boost of a perfectly formed cast to reinforce it and create a consistently funny drama which ranks up there with the best comedy films to be released in recent memory, whilst simultaneously proving that with a decent script and filmmakers who understand the effect of comedic timing, not all American comedies can be utter trash.
Although The Big Sick adheres to the boy-meets-girl formula of practically every romantic comedy since the dawn of time, the added depths given to the relationship between leading couple Kumail Nanjiani and Zoe Kazan, with the former’s religious traditions and the latter’s narrative hanging medical issues the stand-out elements of the story, forms a charming bond between the two in which the audience only wants to see flourish and prosper come the end of the drama, and with added support from the likes of Ray Romano and Holly Hunter, the movie manages to succeed on all fronts as both a romantic drama and a rib-tingling comedy. At the core of the real reason on why the movie really works, is the dedication to the believability of the players involved and each of their separate trials and tribulations, and whilst recent supposed comedies such as Snatched and The House believe comedy is warranted through vulgarity and petulant, adolescent nonsense, thank the baby Jesus for a movie like The Big Sick, a overtly impressive comedy which undoubtedly belongs up there with the best comedies to travel overseas in flippin’ years.
Overall Score: 8/10
“I Can’t Beat It. I Can’t Beat It, I’m Sorry…”
Arriving on a weekend packed to the rafters with a wide range of movie releases, the release of Manchester By The Sea carries with it the annoyingly unavoidable air of hype which has engulfed it over the past few months or so, resulting in an inevitable array of Golden Globe nominations as well as being tipped as one of the top contenders for the upcoming Academy Awards which takes place next month. Directed by Kenneth Lonergan, whose previous credits include screenplays for Gangs of New York and Analyze This, Manchester By The Sea follows in the footsteps of La La Land by being a film which lives up to its’ high expectations, a touching tale of loss, sorrow and the chance of redemption held together by a simply outstanding performance from Casey Affleck who undoubtedly will walk away with the Oscar for Best Actor next month, and a sharp, snappy screenplay which dissects the everyday notions of family and friendship upon an overarching melancholic plot thread which acts as the central cornerstone of a movie seeped in utterly believable human emotion.
Cowering throughout the movie in an unbearable understated embodiment of repressed emotion, Affleck’s Lee Chandler is a complex shadow of a character, one who is brought back to his titular homeland after the death of his brother and one whose societal absence verges on the edge of a complete dissociation with anyone around who shows him the slightest bit of attention. Add into the mix Lucas Hedge’s Patrick, the son of Lee’s lost brother, and the film begins to unravel a parallel between the past and the future, one which balances out loss with a chance of redemption for a character who could easily burst into a complete and utter meltdown at any moment throughout the film. Subsequently, the commanding performance of Affleck ironically leads to the film’s only real setback, with Michelle Williams strangely seeming rather absent and underused, alongside other characters which come and go rather too swiftly. Ultimately, Manchester By The Sea is Affleck’s movie entirely and the down-to-earth dramatic turns and realist decisions by his character result in a film which is up there with the most rewarding dramas to be released in recent memory and for a film which is just under two and a half hours, it seemed strange to be leaving the cinema by actually wanting more, the sign of a cracker if ever there was one.