IT ENDS WITH US***

Absent the controversy surrounding Blake Lively's press campaign, IT ENDS WITH US is a perfectly decently made relationship drama about a woman who finally escapes her husband's domestic violence.  It stars Lively as Lily Bloom  - an on-the-nose named heroine who grew up with domestic violence and is horrified when she realises she is in exactly the same situation. She was swept off her feet by a handsome surgeon (played by director Justin Baldoni) and caught up in a fun friendship with his sister (played by the wonderful comedienne Jenny Slate).  But what at first seem like unfortunate accidents - a reflex slap - a trip down the stairs - eventually become clear as deliberate acts of violence. This is all brought to the fore when Lily reconnects with her childhood sweetheart Atlas (absurd name again!) played by 1923's Brandon Sklenar.  

The film has been criticised for making domestic abuse look romantic or by falsely selling the audience on the content of the film. I am not sure a movie based on a major bestseller can be accused of misleading its built-in audience.  Moreover, it's important to recognise that these stories have a layer of romance and charm and charisma.  Domestic abuse victims are emotionally manipulated into believing that the abuser really does love them. It does start off feeling like a romance. Even in the immediate aftermath of violence there can be declarations of love and promises of redemption.  I also feel that Blake Lively does a really good job of conveying how a strong, smart woman can be gaslit and also start diminishing herself as she pre-emptively appeases her abuser. 

Overall I found this to be a well-made and engrossing film. If anything is unbelievable, it's how fast Lily has the strength to leave her husband. Maybe that can be explained by her childhood experience. But we know that in reality it takes domestic abuse victims a number of times before they finally get the courage and practical support to finally leave, if they ever do.  

IT ENDS WITH US has a running time of 130 minutes and is rated R. It is available to stream.

EVERYTHING EVERYWHERE ALL AT ONCE*

I first tried to watch this film last year and gave up after 20 minutes. When it won a bunch of Golden Globes I tried again and it made it through an hour twenty.  I wasn't going to go back but a friend said there was this amazing speech by Ke Huy Quan that was SO moving so I watched again to the end. Alls I can say is that I'm really happy Ke Huy Quan is finally getting work again and that Michelle Yeoh is finally getting recognition as a serious actress. And I'm super glad the "two Dans" - who directed and wrote this movie really love sci-fi and meta verse films and Kubrick. But this film is a mess. A really boring, bullshit mess and I do NOT get the hype.  

Somewhere in it's bloated running time there is  touching story about a middle-aged woman who runs a laundrette and is trying to file her taxes. She is trying to reconcile herself to her life choices, and trying to rescue her daughter from depression, and trying to rediscover her love for her husband, and indeed herself.  THAT would be a worthwhile film. We rarely see such stories of middle-aged women, let alone Asian women.  But this film is so crowded with juvenile humour and what-if scenarios in alternative universes that the actual deep emotion is undercut.  I can't FEEL if I'm being distracted by Michelle Yeoh and Jamie Lee Curtis with hot dog fingers. Maybe that's on me. 

EVERYTHING EVERYWHERE ALL AT ONCE has a running time of 139 minutes and is rated R. It played SXSW 2022 and is on release globally.

ON THE ROCKS

Laura is a thirtysomething young mother whose husband is always travelling with work. Her life has been subsumed by getting the kids from A to B, and as much as she loves them, she's struggling to create the mental space to focus on writing her new book. Even worse, rather than having a rich inner intellectual life, she's stuck listening to other mums complain about their dating lives.  And even when Laura's husband Dean does coming home from yet another travel trip, he's exhausted, she's exhausted, the conversation gets mired in the bureaucratic minutiae of family life.  Things hit a tipping point when Dean drunkenly starts having sex with Laura but pulls back when he realises it's her. And then she finds his hot colleague Fiona's beauty kit in HIS suitcase. Is he having an affair?

Laura confides in her father Felix who argues that Dean probably is having an affair, because heck, that's what men do.  Felix seems to relish spending time with Laura as they tail Dean through New York and even to Mexico to uncover evidence of his misdeeds. And all of this makes for a hilarious buddy comedy that could easily serve as a prequel for a detective duo TV show. Rashida Jones (Laura) and Bill Murray (Felix) have real chemistry and it's just an absolute blast seeing them slope around Manhattan together in his absurd red sports car just being charismatic and witty and rogueish in that Bill Murray way. And we also get a side order of comedic genius from Jenny Slate (LANDLINE) as the hilariously self-involved school mum.

But there's so much more going on in this film. It's almost as if Bill Murray is back in THE ROYAL TENENBAUMS but this time he's playing the Gene Hackman role.  Laura's willingness to suspect her husband of infidelity is clearly coloured by being raised in a broken home. Likewise, her father's willingness to think Dean is cheating is coloured by his own predilections.   It's clear that Laura feels lost and hurt.  But is any of that her husband's fault?  Or is this just motherhood damaging her sense of self, and thus self-esteem.  And is that lack of self-esteem in her marriage bringing up issues around her own childhood and her father's infidelity.  

So, from my perspective, this film isn't about whether the husband cheated or not at all. And that's why the Marlon Wayans character, Dean, is so vacuous.  We actually don't care about him, and maybe neither do the lead characters. In the words of Laura, "what if I'm just in a rut?" And also paraphrasing from Laura, what if her dad just wants to spend more time with her?  And from writer-director Sofia Coppola (THE BEGUILED), maybe the shadow Laura is trying to move out from under isn't that of motherhood but her larger-than-life dad?  

ON THE ROCKS is rated R and has a running time of 96 minutes. It is streaming on Apple TV+.

DESPICABLE ME 3

DESPICABLE ME has become one of the most reliably inventive, funny and heart-warming of the children's animation franchises, and doesn't disappoint with this short, sharp three-quel.  

Steve Carrel reprises his role as the reformed ex-villian Gru and Kristen Wiig as his wife Lucy. As the movie opens both are fired from the Anti-Villain League for failing to apprehend Balthazar Bratt (Trey Parker) - a delusional former child-star intent on revenge on Hollywood.  Gru sees a shot at still capturing Bratt when he meets his super-rich long-lost twin brother, Dru.  Of course, Dru is a useless super-hero but he does have lots of cool gadgets.  Meanwhile Lucy's story arc sees her try to become a mum to Gru's girls.  

The resulting film is fast-paced, full of great action set pieces and lots of genuinely funny physical comedy.  As usual, the movie works on a number of levels - with enough bright colours and silliness for the kids, and lots of 80s nostalgia for the grown ups. The use of 80s pop hits is particularly on point, and Corey Feldman must be suing for image rights!

DESPICABLE ME 3 is rated PG and has a running time of 89 minutes.

LANDLINE

LANDLINE is a laugh out loud relationship comedy set in the mid-90s from direct Gillian Robespierre starring stand-up comedian Jenny Slate (THE LEGO BATMAN MOVIE).  It shows us a close knit family dealing with the fall out from two affairs, and focuses heavily on the female relationships and reactions with that.  

The parents are played by Edie Falco (THE SOPRANOS) and John Turturro (THE NIGHT OF).  He's a failed novelist having an affair with a woman who provides the praise his wife fails to.  And while the movie gives his crisis some time, the main focus is on the complicated and moving reaction of his wife.  Of the children, the eldest is Dana (Slate) - a quirky and bubbly girl who has just become engaged to her long-time boyfriend Ben (Jay Duplass) but has an affair with her old flame Nate (Finn Wittrock).  I love that the writers of the film dare to give us in Dana what could be, and for some will be, a fairly dislikable character.  Dana can come across as spoiled and unthinking in her actions.  The writers are trying to make the point that women who have affairs are typically portrayed less sympathetically than men who do - and I get that - but it felt to me as thought the pendulum may have swung too far the other way. After all, if the mother gets a psychologically complex and fully explored reaction to her husband's affair, why can't Ben get more than a montage?  The family is rounded out by simultaneously the wisest and dumbest member of the family - little sister Ali (newcomer Abby Quinn).  She's a bright high school student who often seems the most emotionally mature of all concerned, but she's also making dumb choices in the name of rebellion. I found this section of the film the most fascinating and authentic, and Quinn to be the true star of the film.

LANDLINE is beautifully observed and has a light touch in recreating the 1990s.  It's constantly laugh-out loud funny and has some fantastic sight gags. I had a fantastic time watching despite my reservations of its treatment of the male characters. As I said, I get the need for balance in portrayal of female and male characters, but it just felt as though it had moved too far in the other direction for my liking.

LANDLINE has a running time of 93 minutes and is not yet rated. The movie played Sundance and San Francisco 2017 and opens in the USA on July 21st.

ZOOTOPIA aka ZOOTROPOLIS

ZOOTOPIA/ZOOTROPOLIS is a pointed but obvious commentary about racism and sexism in supposedly multicultural western society. As such, its trenchant criticism comes at an apposite time in world politics.  But it rather wants to have its cake and eat it.  And I'm not sure it's any fun for kids. Because, after all, this is a kids animated feature!

The movie comes from directors Rich Moore (WRECK IT RALPH) and Byron Howard (TANGLED).  It posits a world full of anthropomorphic animals who live in apparent harmony because they have evolved beyond the predator/prey instinct. This is meant to be a world in which anyone can achieve anything - a spin on the American Dream. Of course, the real world is not, in the words of Captain Bogo, "some cartoon musical where you sing a little song and all your insipid dreams magically come true. So let it go." In other words, this movie is a clash between those hokey Disney values of yore, and our more post-modern cynical sensibilities.