You've Got Mail

 You've Got Mail (1997)

Starring Tom Hanks, Meg Ryan, Parker Posey, Greg Kinnear, Jean Stapleton, Dave Chappelle, Steve Zahn, Heather Burns, and Dabney Coleman

Directed by Nora Ephron

Written by Nora Ephron and Delia Ephron

Click here for my Letterboxd review

The RyMickey Rating: B-

For Your Consideration

 For Your Consideration (2006)

Starring Bob Balaban, Jennifer Coolidge, Ricky Gervais, Christopher Guest, Rachel Harris, John Michael Higgins, Michael Hitchcock, Don Lake, Eugene Levy, Jane Lynch, Michael McKean, Christopher Moynihan, Catherine O'Hara, Parker Posey, Harry Shearer, and Fred Willard 

Directed by Christopher Guest

Written by Christopher Guest and Eugene Levy

Click here for my Letterboxd review

The RyMickey Rating: D

A Mighty Wind

A Mighty Wind (2003)

Starring Bob Balaban, Christopher Guest, John Michael Higgins, Eugene Levy, Jane Lynch, Michael McKean, Catherine O'Hara, Parker Posey, Harry Shearer, and Fred Willard

Directed by Christopher Guest 

Written by Christopher Guest and Eugene Levy

Click here for my Letterboxd review

The RyMickey Rating: B

Waiting for Guffman

Waiting for Guffman (1997)

Starring Lewis Arquette, Bob Balaban, Christopher Guest, Matt Keesler, Eugene Levy, Catherine O'Hara, Parker Posey, and Fred Willard

Directed by Christopher Guest

Written by Christopher Guest and Eugene Levy

Click here for my Letterboxd review

The RyMickey Rating: B

Movie Review - Café Society

Café Society (2016)

Starring Jesse Eisenberg, Kristen Stewart, Steve Carell, Blake Lively, Parker Posey, Corey Stoll, Jeannie Berlin, and Anna Camp

Directed by Woody Allen

***This film is currently streaming on Amazon Prime***

Café Society is a nonstarter when it comes to a Woody Allen movie.  There's nothing about it that really pops, but there's nothing about it that's bad enough to rouse hatred.  In the end, it's just a middle-of-the-road flick from a prolific auteur who has maybe run out of ideas when it comes to comedy despite still having some life in him when it comes to writing and directing dramas.

It's the 1930s and Bobby Dorfman (Jesse Eisenberg) isn't happy working for his jeweler father in New York City so he decides to move to Los Angeles where he gets a job running errands for his uncle Phil (Steve Carell) who is one of the biggest agents in Hollywood.  At his uncle's office, Bobby meets secretary Vonnie (Kristen Stewart) and immediately becomes infatuated with her.  Unfortunately for Bobby, Vonnie happens to be secretly seeing her married boss, Phil, but she's aggravated that he won't leave his wife despite promises that he will.  With Phil leaving her in limbo, Vonnie acquiesces to Bobby's advances, but their relationship eventually causes some tension between Bobby and Phil, leaving the young man to head back home to New York City where a whole second half of the story begins involving a ritzy supper club.

And therein lies the biggest problem with Café Society -- it's two disparate stories that don't really mesh together as well as they should.  The film really is broken into two halves and while neither half is disproportionately worse than the other, it just doesn't really click as a whole.  Fortunately, Jesse Eisenberg and Kristen Stewart have nice chemistry (in what I believe is their third film together) which helps Woody Allen's words come to life.  Anna Camp, Parker Posey, and Blake Lively take on cameo-sized roles and inject a lot of character into them as well.  In the end, though, Woody Allen may have been better served if he just chose one half on which to focus.  Still, Café Society isn't the worst of Allen films, but it's certainly not the best.

The RyMickey Rating:  C+

Movie Review - Mascots

Mascots (2016)

Starring Jane Lynch, Parker Posey, Christopher Guest, Fred Willard, Ed Begley, Jr., Zach Woods, Sarah Baker, Michael Hitchcock, John Michael Higgins, Tom Bennett, Christopher Moynihan, Susan Yeagley, Chris O'Dowd, Bob Balaban, and Jennifer Coolidge

Directed by Christopher Guest

***This film is currently streaming on Netflix***

Writer-director Christopher Guest's mockumentary Best in Show which took the audience behind the scenes of a low-rent dog show is one of the best comedies of all time.  A ballsy statement, I'm aware, and one that may not be shared by all, but it's a movie that I find myself cracking up with whenever I put it on.  In a similar vein, his latest film Mascots takes its viewers to the annual Mascot Championships where his interviews with a wacky cast of characters unveil the mask behind some unique college and sport team mascots fighting for the top prize at the event.

Told in a fake documentary style -- the genre of all Guest's films -- Mascots has its moments and is certainly watchable, but it doesn't compare to the genius that is Best in Show (then again, the rest of Guest's films don't compare to that genius either).  Guest allows large chunks of his acting ensemble to simply improvise and while that does provide some clever moments, it also fills the film with a lot of nothing in terms of character development.  Despite only being 95 minutes long, the flick feels much longer with too much focus placed on the mascot bits at the final competition rather than creating well-rounded and interestingly quirky characters.

I'm overly critical here because I know Guest and his ensemble (many of whom were in Best in Show) can do better.  I did laugh during Mascots -- quite a bit actually -- but I wanted more from the film.  The humor came a bit too sporadically for me to truly be able to recommend this one.  Best in Show, however -- get yourself a copy today!

The RyMickey Rating:  C

Movie Review - Irrational Man

Irrational Man (2015)

Starring Joaquin Phoenix, Emma Stone, Parker Posey, and Jamie Blackley

Directed by Woody Allen

No one will ever mistake Irrational Man for being one of Woody Allen's masterpieces, but it's certainly not one of his disasters.  A middle-of-the-road dramedy, Irrational Man is Allen's somewhat comedic take on Alfred Hitchcock's Strangers on a Train.  Here, troubled college philosophy professor Abe Lucas (Joaquin Phoenix) moves to a new university to begin teaching a summer session where he meets engaging graduate student Jill Pollard (Emma Stone).  Although Jill is dating fellow student Roy (Jamie Blackley), she immediately falls for Abe's intelligence and what she perceives as power despite the fact that Abe himself is facing internal strife and what he believes to be an existential crisis.  While Abe doesn't initially return Jill's affections, one afternoon while lunching at a diner, the two overhear a woman desperately complaining to her friends about the unfair judge presiding over the custody hearing concerning her children.  Upon hearing this, Abe thinks that helping this woman whom he doesn't even know may be the key to getting him out of his funk.  And how should he help the woman?  What about carrying out the perfect crime (seeing as how there is zero connection between Abe and this unknown woman) by killing the judge presiding over her custody hearing?

Therein is the Hitchcockian spin in Allen's latest feature film which, when it occurs about halfway through, lifts the flick up from a bit of a slow, predictable start.  Phoenix fits right in to the Woody Allen landscape with his downtrodden professor a perfect match for the actor himself who is quite adept at playing depressed men with a bit of anxiety.  (It wouldn't be a Woody Allen film without anxiety creeping in, right?)  While Emma Stone's Jill doesn't stretch the actress in any way, it's a much better character than her somewhat over-the-top role as a kooky psychic in Allen's last feature Magic in the Moonlight.  In fact, everything about Irrational Man is better than that prior feature, despite the fact that this flick, as mentioned, takes a little while to actually get to the meat of its story.  While Phoenix and Stone certainly try to make their relationship patter click in the film's first half, it really doesn't end up mattering much to the overall story which is no fault of the two actors.  Still, Irrational Man falls into the upper half of the Woody Allen flicks I've seen in terms of quality and story, and, while not perfect, creates an engaging atmosphere that comes into its own as the film progresses.

The RyMickey Rating:  B-

Movie Review - Grace of Monaco

Grace of Monaco (2014)

Starring Nicole Kidman, Tim Roth, Frank Langella, and Parker Posey

Directed by Olivier Dahan

***This film is currently streaming on Netflix***

First off, I must say that the critical lashing Grace of Monaco received after its premiere at Cannes in 2014 that led to the film not being released theatrically is completely unwarranted.  While the Nicole Kidman-starring pic isn't mind-blowing, it's certainly not anywhere close to the bottom rungs of films released in 2014 and should've at least garnered a bit of an audience based on the subject matter and star alone.  Seeing as how it's actually up for an Emmy for Best TV Movie (it premiered on Lifetime earlier in 2015), I'm obviously not alone in this assessment.  For the RyMickey's Ramblings blog, however, logistically, I'm going to call Grace of Monaco a theatrical film released in 2014.

Grace Kelly married Prince Rainier of Monaco in 1956 and by doing so the Oscar-winning actress essentially ended her Oscar-winning film career at the young age of 26.  However, as the film tells us, by 1962, Princess Grace was considering a return to the big screen when Alfred Hitchcock paid her a visit with the script for Marnie.  Seemingly ready for a return to Hollywood, Grace's yearning to act again is put on hold when the people of Monaco begin to question her loyalty to their small country just as her husband Prince Rainier (Tim Roth) finds himself in a dispute with Charles de Gaulle of France over taxation.

Taking a small page out of Grace and Rainier's life, Grace of Monaco is not billed as a biopic and indeed it begins with the wording, "The following is a fictional account based on real events."  You may then ask yourself, "What's the point of the film then?"  To this blogger, it details the universal quest of most women to find balance in one's life in terms of family, career, and love -- here, it's simply amplified to someone more famous as she leaves her old world behind and is thrust into an even higher profile limelight.  Nicole Kidman does quite a good job at conveying Kelly's sense of doubt as to her place in Monaco and I actually think it's one of her better acted roles in recent years.  I was quite captivated any time she was onscreen (director Olivier Dahan excels at capturing the "glamour" of the star and of Monaco) and while I would've preferred her Australian accent be always muted (I was distracted at moments because of this), Kidman more than carries the film.

Considering its streaming status on Netflix, I think this one is worth a look if the subject matter is even remotely interesting to you.  The boos and hisses Grace of Monaco received after its premiere at Cannes in 2014 were simply those of uppity folks expecting a bit more than they probably should have.  For the Weinstein company to have abandoned this flick like they did is kind of ridiculous and paints an unfair portrait of the perfectly acceptable film itself.

The RyMickey Rating:  C+