We Live in a Self-Preservation Society

Theaters are (hopefully for reals this time I mean it damn it) reopening in spades, and while you have a movie made for the theatrical experience out this weekend as well — A Quiet Place: Part II — it’s well-matched by Disney’s latest live-action “remake,” Cruella. To be clear, this is neither a live-action remake of or live-action prequel to the animated movie or the 1996 live-action remake of that — consider it a soft reworking, much like Maleficent was.

The story, as portrayed by the film’s trailers, barely showcases a fifth of the movie, and I will not divulge it here, but what you get is a deliciously twisted, twisty story — not duplicitous, a problem that plagued tentpole movies like Atomic Blonde and Solo: A Star Wars Story, but twisty — you know not what to expect from this, trust me. Director Craig Gillespie (I, Tonya) brings to life a sharp, biting screenplay with word after word bringing to mind The Devil Wears Prada meets David Mamet, and his actors bring performances to match! Under less inspired hands, this would have starred Margot Robbie (ugh) and Meryl Streep (UGH), but Emma Stone (La-La Land), also serving as an Executive Producer on the film, goes from innocent-looking pickpocket to psychotic nutcase with brilliance — I’ve never seen her play an out-and-out villain before, and she may not have played one until now, but what a way to break into the crew! It should be mentioned here and now that despite the Disney tag, the character of Cruella is not nearly as humanized as Maleficent was (you can put down the Molotovs, PETA), but one can definitely tell there was once a lost child in the character.

The dueling Emma, Ms. Thompson (Sense & Sensibility), commands the screen as much as Cruella does — the auditorium fell silent when she delivered her first monologue; you could have heard a pin drop — she pours on the creepy sauce and doesn’t stop; truly one of the best ladies of the English cinema and stage! Joel Fry (Yesterday) and Paul Walter Hauser (Richard Jewell) play as Jasper and Horace, Cruella’s erstwhile partners-in-crime, and while Hauser is funny as the idiotic one, it’s surprisingly Fry who gives humanity to the henchman, serving as the conscience on the lady’s shoulder… make of that what you will!

As much as I don’t want to say the movie is an audio-visual feast, it’s an audio-visual feast! Filmed in digital with a color scheme and grain structure suggesting the original The Italian Job and peppered with songs of the era (the 1970’s) and then some, the film plays a sort of carnal, lustful look at the worlds of fashion and theft — how the other half lived and how beauty corrupts everyone… absolutely everyone.

Lush and sharp as an acid-soaked whip, Cruella is a terrific live-action reworking that gloriously removes the stain of Mulan (2020), and though it’s available as a $30 extra on Disney+, you owe it to the theaters of America (to say nothing of your senses) to see it on the biggest screen nearest you! Again, if you think you know what to expect from this movie, rest assured – you do not! As the DeVil herself says, there’s much more bad things coming!

I’d Like To Do It Again

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I grew up on stuff that meant nothing to my generation — from vintage comedies to Victrola records, my house was in 1950 while 1997 happened in the outside world. As a direct result, I was alienated from most of my class, but I did acquire a, dare I say, more refined sense of humor compared to my contemporaries. That being said, not enough comedies in theaters today make me laugh — I tend to groan throughout (Superbad) or take the story dead seriously (Tropic Thunder), so I rarely see them in theaters. In point of fact, the last one I saw as such was 2012’s Hit & Run, and I guffawed all the way through. Almost five years later, I found myself seeing Going In Style, and loving it from head to toe!

A remake of the 1979 film of the same name, Going In Style showcases the lives of three friends in their sunset years — Joe (Michael Caine, The Italian Job), Willie (Morgan Freeman, The Shawshank Redemption) and Albert (Alan Arkin, The Russians Are Coming, The Russians Are Coming!) — robbed of their pensions and near broke. With no other way to live and expenses needing to be paid, Joe gets the idea to rob a bank — the same bank that managed the liquidation of their pensions. It does sound extremely dumb in synopsis form, and while the trailers paint a better picture than my words, they don’t do it enough justice — this is a very cute, touching film that happens to have some of the best laugh-out-loud moments I’ve ever seen (and the best ones are actually kept from the trailer! Bravo!)! Caine, Freeman and Arkin have never been funnier, and they’re joined by a grand cast of co-stars — among them, Ann-Margret (Bye Bye Birdie), Christopher Lloyd (Back to the Future), Matt Dillon (Over The Edge), Siobhan Fallon Hogan (Holes) and Joey King (Oz: The Great and Powerful), each one getting a moment or two in the spotlight that make them indispensable to this film. No one present in this film is an unnecessary addition, which is something I can’t say about most movies in history.

Still, when the movie gets sentimental, it never stoops to sappy, Mitch Albom-y levels. It’s a movie made for the generation who grew up on the Billy Wilder compendium of comedies; movies that weren’t afraid to fiddle with your heartstrings as they tickled your funnybone, and that is made all the more impressive by its 42-year old director, Zach Braff. Known as the man behind romantic dramedies such as Garden State and The Last Kiss. Braff’s direction is a loving one, kind and courteous to the audiences watching this film with no real alternatives in a day and age of uninspired drivel like Trainwreck and Neighbors. There is no other movie this year like Going In Style — it’s a trip down Memory Lane that never takes its foot off the gas. True, it does slow down a bit in its third act, and that’s a bit of a pity, but on average, it’s a rollicking, fun ride through the pitfalls of old age.

Let’s be clear, Going In Style is not Oscar bait, despite advertisements billing its leads as “Academy Award Winners,” but it’s not made for the Hollywood elite, nor the moviegoer expecting to see The Hangover on Ensure; it’s a comedy that isn’t afraid to be poignant and adorable. You just don’t get movies like that anymore, and kudos to Zach Braff and all affiliated — this is a love letter from our generation to the past.

4.5/5