Headhunters: from smoothly confident scoundrel to human pinata

The smug Norwegian corporate headhunter named Roger Brown (don’t ask) explains his motivation at the very beginning of the movie:  at 5 feet, 6 inches, his insecurity about keeping his six foot blond wife leads him to cut some corners.  As ruthlessly successful as he is in business, he feels the need to also burgle the homes of his clients and steal art treasures.  So the dark comedy thriller Headhunters (Hodejegerne) begins like a heist movie.  But soon Roger becomes targeted by a client with serious commando skills, unlimited high tech gizmos,  and a firm intention to make Roger dead.

Roger Brown is played brilliantly by Aksel Hennie, a huge star in Norway who looks like a cross between Christopher Walken and Peter Lorre. The laughs come from Roger’s comeuppance as he undergoes every conceivable humiliation while trying to survive.  As a smoothly confident scoundrel, Roger is at first not that sympathetic, but Hennie turns him into a panicked and terrified Everyman when he becomes a human pinata.

Headhunters is based on a page-turner by the Scandinavian mystery writer Jo Nesbo.   There are reports that Headhunters will be remade soon by Hollywood.  In the mean time, see Headhunters and have a fun time at the movies.

Pirates! Band of Misfits: merely amusing

I’ve always loved the good-hearted and wry Aardman Studio films like Wallace and Gromit and Chicken Run.  Aardman’s Pirates! Band of Misfits doesn’t quite match up to Aardman’s past work.  The claymation is exquisite and the jokes are smart, but the overall effect is merely amusing and guffaw-free.  Silly pirate stereotypes should have been much richer fodder for the writers.

I saw this in 3D, but I wouldn’t pay the 3D premium if I were taking a bunch of kids to see it.

Goon: violence, vulgarity and a nice Jewish boy

Doug Glatt is not very smart and he knows it.  He struggles to find the right word in every situation.  Because his only talent is the ability to knock others unconscious, he is only in demand as a bar bouncer.  But Doug is not a brute – he is goodhearted and loyal, and yearns to be part of something.  By chance, Doug gets hired by a minor league hockey team to become its thuggish enforcer – despite his inability to ice skate.

We get lots of funny hockey violence a la the Hanson Brothers in Slap Shot.  It’s very funny when Doug mangles his every attempt at cogent conversation.  The comedy also comes from Doug’s innocent fish out of water in the cynical, sleazy and cutthroat world of minor league hockey.  (He’s even reverential about the team logo on the locker room floor.)

There are lots of nice comic touches.  For example, when Doug becomes a sensation, one of his fans in the stands holds up a sign reading “Doug 3:69” (Doug wears jersey number 69); we glimpse the sign for only a second, but I appreciate the filmmakers planting such nuggets in the movie.  Doug is also that rarity – a Jewish hockey goon, with parents horrified that he isn’t following his brother to med school.

Although plenty raunchy, Goon is a rung above the normal gross-out guy comedy because Doug is such a fundamentally good and well-meaning person.  As Doug, Seann William Scott (Stifler in American Pie) plays a naive simpleton, but one fiercely committed to his core values.  It’s got to be hard to play that combination, and Scott’s performance is special.

The cast is excellent.  Co-writer Jay Baruchel plays Doug’s sophomoric friend.  Alison Pill (Milk, Midnight in Paris) is the troubled smart girl who can’t figure out why she’s attracted to a word-fumbling hockey goon.  Liev Schreiber, excellent as always,  dons a Fu Manchu and a mullet to play the league’s toughest goon.  Kim Coates, who almost stole A Little Help as the personal injury attorney, plays the coach.

Perhaps because it has just been released, Goon hasn’t yet made Wikipedia’s “Films that most frequently use the word “f**k”, but I am sure that it meets the qualifying threshold of 150 f-bombs.

Damsels in Distress: say it ain’t so, Whit

What writer-director Whit Stillman does really well is bring us unto the world of old money Eastern preppies with their refined manners and their odd customs like debutante balls.  His well-educated characters have earnest late-night existential conversations in complete sentences.  Nobody else does this, and Stillman’s dialogue has always kept me wholly absorbed.  That’s why I liked his films Metropolitan and Barcelona so much.

What Stillman does not do well is absurdist film, like his current entry, Damsels in Distress, set in a Northeastern liberal arts college that is decidedly non-Ivy.  Indie film darling Greta Gerwig plays the seriously off-kilter leader of some coeds who are intent on rescuing fellow students from depression, fashion mistakes and bad hygiene, whether they want it or not.

While his earlier films were earnestly realistic, Damsels is way over the top.  The girls’ boyfriends are so stupid that one does not yet know his colors.  Gerwig’s character is so obviously disturbed that anyone, even a horny college male, would run the other way.

That means that the patter of Stillman’s dialogue must carry the day, and it fails him.  Gerwig’s two friends are one-note jokes – one profoundly stupid, the other profoundly suspicious – that aren’t that funny the first time.  There are lame body odor jokes.  The fraternity system uses Roman, rather than Greek letters – which is not the sidesplitter that Stillman may imagine.

For sure, there are some funny moments.  At the campus Suicide Prevention Center (the word “Prevention” keeps falling off the sign)  Gerwig offers a fellow student a doughnut, but then snatches it back after one bite when she discovers that he isn’t the suicidal one.  One student has adopted the Cathar religion, which he associates with a certain sexual practice.  But, over all, the movie is not funny.  Worst of all, it’s not engaging.

Analeigh Tipton, who was very good as the smitten babysitter in Crazy Stupid Love, does especially well again as a transfer student who falls under Gerwig’s wing.

My recommendations:  1) Stillman should leave the absurdism to Bunuel and 2) the rest of us can skip Damsels to watch Metropolitan and Barcelona.

The Salt of Life: men will be boys

The Salt of Life (Gianni e le donne) is a gently funny and insightful comedy about a certain time in a man’s life.  In the lives of men who are not rich, famous or powerful, there comes a time when attractive young women no longer see them as potential lovers.  This is painful for any guy, and our contemporary Roman hero Gianni, with the help of his portly lawyer/wing man, sets out to deny that he has reached this plateau.

In a standard movie fantasy, some adorable young hottie would come to appreciate Gianni’s true appeal and find him irresistible.  But in The Salt of Life, the story is more textured, complex and realistic.

The Salt of Life  stars and is written and directed by Gianni Di Gregorio, just like the very fun Mid-August Lunch.  It is definitively a movie for guys of a certain age and the women who tolerate them, as well as the younger guys who will become them.

Sorry, no subtitles yet on the trailer embedded here.  You can watch the English subtitled trailer on IMDb.

 

DVD of the Week: Young Adult

With Young Adult, screenwriter Diablo Cody (Juno) and director Jason Reitman (Thank You for Smoking, Juno, Up in the Air) are challenging the current mode of comedy itself.  They turn many comic conventions on their heads in this nastily dark comedy, and Young Adult is on my list of Best Movies of 2011.

Played by Charlize Theron, the main character is stunningly non-empathetic,  utterly self-absorbed and thoroughly unpleasant.  She was the prom goddess in her small town high school, and has moved to the city for a job with a hint of prestige.  With a failed marriage, a looming career crisis and no friends, she’s drinking too much and is in a bad place.  So she decides to return to her hometown and get her old boyfriend (Patrick Wilson) back – despite the fact that he’s gloriously contented with his wife and newborn infant.

Naturally, social disasters ensue.  Along the way, the story probes the issues of happiness and self-appraisal.

Patton Oswalt is wonderful as someone the protagonist regarded as a lower form of life in high school, but who becomes her only companion and truth teller.

Young Adult is inventive and very funny.  Its cynicism reminds me of a Ben Hecht or Billy Wilder screenplay (high praise).  Note:  This is NOT a film for someone expecting a light comedy.

DVD of the Week: Waking Ned Devine

David Kelly's unforgettable naked motor scooter ride in WAKING NED DEVINE

For St. Patrick’s week, I recommend the 1998 comedy Waking Ned Devine in memory of one of it stars, David Kelly, who died last month.  Kelly and the late Ian Bannen play two mischievous geezers who learn that someone in their tiny Irish village has won the national lottery, and they connive to share the wealth.  It’s very Irish and very funny.

Cinequest – Let the Bullets Fly: can 1.3 billion Chinese be wrong?

Ever seen a movie where the outlaw rides into town and sticks up for the little guys against the local bully of a crime boss?  Well, maybe so, but you probably haven’t seen a movie like Let the Bullets Fly (Rang Zidan Fei), which is set in southeastern China in the Chinese warlord period around 1919.

For one thing, it’s an unusually exuberant film that’s extremely funny for an action western.

For another, it’s a deeply cynical assessment of government corruption.  It quickly becomes apparent that the professional bandit is more honest and reliable than any of the local institutions.  (That subtext is not lost on the Chinese public.)

And the Chinese movie fans have embraced Let the Bullets Fly.  It’s the highest-grossing Chinese language movie ever, and is the all-time #2 most popular movie in China (behind Avatar).

Writer-director Wen Jiang plays the stalwart bandit hero who substitutes himself for the newly arriving appointed Governor (played by You Ge as a hilariously unabashed sleazeball).  Jiang’s bandit comes up against the local baddie (Chow Yun Fat), who doesn’t want to relinquish any of his power or ill-gotten gains.  As the two match wits, a fast, funny and utterly rambunctious ride ensues.

In this case, 1.3 billion Chinese are correct – this is one fun movie.

Cinequest – Percival’s Big Night: screwball comedy for hipsters

Imagine if Howard Hawks were making a screwball comedy today –  a guy and a girl spar with snappy patter, survive the crazed antics of their goofy friends and fall in love.   If he set the movie in the shambles of a hipster pot dealer’s NYC apartment, you’d have Percival’s Big Night, one of the gems of Cinequest 22.

You’ll recognize the set-up:  Two 24-year-old underachievers have so far made the least of their BFAs.  Percy is infatuated with Chloe, and needs his roommate Sal to introduce her to him.  Chloe arrives with her friend Riku, who is appropriately crazy enough to match up with Sal.   The guys and girls bicker and banter, eavesdrop on each other and pair into couples.

What’s so refreshingly welcome about Percival’s Big Night is how well all of this is executed, due to the frantically paced dialogue from writer-director Jarret Kerr, who also stars as Sal.  It’s briskly paced by director Will Sullivan and very, very funny.

The cast has performed Percival’s Big Night as an off-Broadway play.  They were able to shoot the movie in six 15-minute captures that are blended together to look like one shot.  Because of the madcap pace, the audience isn’t distracted by the single shot; instead, the technique intensifies the story compressed into the small apartment.

Percival’s Big Night is enough of crowd-pleaser to deserve theatrical release; in any case, hopefully, it will be available soon on cable TV, DVD, streaming or some other outlet.

Cinequest – Dorfman: nothing to see here, move along

Dorfman is a well-intentioned indie about a woman who has been sacrificing her own life to support the self-absorbed men in her life.  Moving from the San Fernando Valley to the newly vibrant downtown LA (colorful and trendy, yet edgy) helps bring her a renaissance of spirit.

Unfortunately,the promising premise is betrayed by a cliche ridden screenplay, and poor direction and editing.  The star, Sara Rue, doesn’t bring much to the party, either.  The film only works as a travelogue for downtown LA.

The wily veteran Elliott Gould and Haaz Sleiman (The Visitor, Nurse Jackie) are both good, but they’ll both see much better material than this.