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Posts Tagged ‘Bill Murray’

Zac Efron

“THE GREATEST BEER RUN EVER”  My rating: B+ (Apple +)

126 minutes | MPAA rating: R

I put off watching Apple +’s “The Greatest Beer Run Ever” because…well, because it sounded kind of cheesy.

Notwithstanding that it is based on actual events, this yarn — about a good ol’ boy New Yorker who in 1968 smuggled himself into Vietnam to deliver American-made brews to the neighborhood guys fighting Charlie — sounded just a little too flip and insubstantial for my tastes.

I couldn’t have been more off the mark.

Directed and co-written by Peter Farrelly (who has evolved from the grossout yuks of “There’s Something About Mary” and “Dumb and Dumber” to substantial fare like “Green Book”) this film walks a fine line between shaggy dog comedy and an essentially serious look at a subject the movies often get wrong.

Not having served I cannot testify to the accuracy of the movie’s war scenes.  But I have never seen a film that so accurately captured the conflicts the war generated in our civilian population.  The attitudes of the characters are absolutely right on.

That “…Beer Run” also gives us Zac Efron’s best performance yet is just icing on the cake. 

Chickie Donohue (Efron) is a U.S. Merchant Marine who spends his time between voyages sleeping late and getting drunk at his neighborhood bar.  He’s essentially directionless and irresponsible; politically he’s of the “my country, right or wrong” persuasion, which puts him perennially at odds with his younger sister, a regular at anti-war rallies.

Realizing he’s doing nothing for the cause, Chickie comes up with the idea of loading a duffel bag with beer and signing up as an oilman on a Vietnam-bound cargo ship.  Once there he’ll make an extensive side trip to visit his childhood buddies who are stationed around the country.  To each he will present a beer or two, a little gift of appreciation from the folks back home.

Russell Crowe, Zac Efron

It’s a genuinely dumb-ass idea, but Efron masterfully sells Chickie’s enthusiasm and naivete.  His pals in uniform are amazed to see him in ‘Nam — pleased with the beer but incredulous that anyone who doesn’t have to be there would come voluntarily.

The screenplay (co-written by Brian Hayes Currie and Pete Jones) balances farcical elements with more somber revelations.

For example, Chuckie finds he can get military transport anywhere he wants by implying that he’s working for the CIA. And he has the head-slapping habit of stumbling across his old running buddies in the midst of war’s chaos.

At the same time, we see his his growing realization that most everything he believes about the war is wrong. The film finds our man being shot at while delivering suds at a far-flung fire base. At one point he sees a suspected Viet Cong tossed out of an airborne ‘copter during an interrogation.  And he’s on hand to witness the notorious Tet Offensive, when the Cong struck at the heart of Saigon during the Asian New Year celebration.

Now I have no idea how much of this the real Chickie experienced and how much was invented for the film. Indeed, many may conclude that the filmmakers have a fairly heavy hand in dealing anti-war sentiments in the movie’s latter stages.

But it works. “The Greatest Beer Run Ever” is fueled equally by its far-fetched silliness and its growing sense of sadness — if not outrage — over the war’s toll.

Toss in a couple of fine supporting performances — Bill Murray as the New York bar owner whose jingoism sets the plot in motion, and Russell Crowe as a war correspondent through whose lens Chickie gets an education in real-world violence — and you’ve got a film that will stand up under repeated viewings.

| Robert W. Butler

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Rashida Jones, Bill Murray

“ON THE ROCKS”  My rating: B

96 minutes | MPAA rating: R

Bill Murray and his gleefully smarmy insouciance have been part of our collective unconscious for so long — more than four decades now — that it’s easy to forget that he is one formidable actor.

And to prove that point one need look no further than Sofia Coppola’s “On the Rocks,” a father/daughter road trip that chugs along without a misstep, providing along the way many an opportunity for Murray to do his glorious thing.

The premise is simple enough. Approaching 40, with two young children to care for and a writing career that appears stalled, New Yorker Laura (Rashida Jones) is a envious of her husband Dean (Marlon Wayans), an entrepeurial type working on a big project that requires much travel, usually in the company of his team of young go-getters.

Laura’s doubts about herself and her marriage go from lukewarm bath to slow-simmer when her father, famous art dealer and inveterate womanizer Felix (Murray), puts a bug in her ear.  Could Dean be having a fling with one of his young helpers?

Felix, after all, is a past master of marital deception; he knows the signs of a cheating husband and doesn’t want his little girl blindsided in the same way as when he broke up with Laura’s mother decades earlier.

Or could it be that in maturity he’s desperate to connect with the child he once almost drove away? That he has an agenda beyond Dean’s presumed infidelity?

Basically what we’ve got here is a comic mystery in which father-and-daughter sleuths go searching for proof of Dean’s fooling around. It’s a quest that will have them crashing swank Manhattan  soirees and even a Mexican resort.

Mostly, though, it provides a series of opportunities for superbly written and performed verbal exchanges.

Jones is terrific as a woman whose faith in her marriage is tested but never shattered. Her attitude toward Felix — equal parts loving admiration and clear-eyed suspicion — is precisely limned. And she has a great third-act monologue in which she tells off her old man for his selfishness.

But of course Laura is the straight-man role. Murray’s the one who gets one standout moment after the other.  In one marvelous scene he talks his way into the good graces of a NYPD cop who has pulled him over for racing his red convertible through Soho: “Are you Tommy Callaghan’s kid?” he asks after reading the officer’s name tag. “I don’t know why I didn’t make you right away. You’re a dead ringer.”

Before it’s over he has not only sweet talked his way out of a traffic ticket, but he gets the city’s finest to provide a running jump start for his temperamental roadster.

Just about every woman who encounters this sad-eyed Lothario seems to get a buzz off him. Laura is no exception.  The guy is remarkably entertaining.  In one instance Felix has her  walk backwards through a cocktail party — that way the hostess won’t realize they’re leaving early.

And at a posh Mexican resort where Dean is attending some sort of business deal, Laura finds her father serenading the other guests with a pretty righteous rendition of “Mexicali Rose.”

Coppola provides her leads with a late confrontation in which Laura reveals the many times she’s been hurt by her father, and Felix tries to explain how a mistress gave him the “glow” his wife no longer bestowed.

With its love of the big city “On the Rocks” sometimes feels like a long-lost Woody Allen effort, but Coppola is very much her own auteur; it’s doubtful that Allen or any male writer/director could have so succinctly captured Laura’s predicament.

The result is an amusing film that ultimately delivers a few deep lessons.

| Robert W. Butler

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Bill Murray, Chloë Sevigny and Adam Driver

“THE DEAD DON’T DIE” My rating: C+

104 minutes | MPAA rating: R

The world really doesn’t need another zombie movie.

On the other hand, the world can always use another Jim Jarmusch movie.

Except, I guess, when it’s a zombie movie.

The latest from the idiosyncratic Jarmusch,  “The Dead Don’t Die,” has been written and played for chuckles.  It adds nothing to the zombie genre (unless you count the last-reel appearance of an alien spaceship) but allows a huge cast of players (Carol Kane and Iggy Pop, for instance, as a couple of the voracious corpses)  to have fun riffing on the whole walking dead phenomenon.

In sleepy Centerville the sheriff, Cliff Robertson (Bill Murray), and his deputy, Ronnie Peterson (Adam Driver), spend most of their time drinking coffee and keeping tabs on a forest-dwelling hermit (Tom Waits).

They mediate disputes among the citizenry, folk like a MAGA hat-wearing farmer (Steve Buscemi) and a black handyman (Danny Glover).

All the while,  Deputy Ronnie is oblivious to the fact that his co-worker, Deputy Mindy (Chloe Savigny), has a huge crush on him.

The two lawmen are a sort gun-toting Mutt & Jeff who face each new revelation of horrors with deadpan drollery.

(more…)

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“ISLE OF DOGS” My rating: B

101 minutes | MPAA rating: PG-13

So much is going on in Wes Anderson’s “Isle of Dogs” that it’s hard to wrap one’s head around it.

Perhaps it’s best to let our eyes do all the work, for this is one astoundingly beautiful animated film.

Shot with the same stop-motion techniques as Anderson’s earlier effort, “The Fantastic Mr. Fox,” this new entry employs the filmmaker’s usual deadpan humor with gorgeous Japanense-inspired designs and a yarn about human/canine relations.

It’s part sci-fi, part “Old Yeller.”

In an introductory segment designed to look like Japanense screens and woodcuts and propelled by throbbing Japanese drumming, an unseen narrator (Courtney B.  Vance) relates how, after an outbreak of “dog flu” and “snout fever,” all canines in the city were banished by the cat-loving Mayor Kobayashi, head of the ruling Kobayashi clan.

The dogs were transported to an island of trash off the coast where they learned to dig through the refuse for sustenance.

But not all humans are anti-dog.  A few still long for the days of “man’s best friend”; a pro-pup scientist is even developing a cure for dog flu.

The plot proper (the screenplay is by Anderson, who developed the story with Roman Coppola, Jason Schwartzman and Kunichi Nomura) kicks in with the arrival of Atari, the ward of the Mayor who has stolen a plane and crash landed on the Isle of Dogs in search of Spots, his beloved guard dog, who was torn from him by the canine exodus.

The boy immediately teams up with a quartet of puzzled pooches (voiced by Edward Norton, Bob Balaban, Bill Murray and Jeff Goldblum) and the suspicious Chief (Bryan Cranston), who understandably nurses a bad case of anti-human sentiment. (more…)

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Kate Hudson, Bill Murray

Kate Hudson, Bill Murray

“ROCK THE KASBAH” My rating: C 

100 minutes | MPAA rating: R

“Rock the Kasbah” is what the Brits call a “toss off.”

Director Barry Levinson’s latest is so lightweight that one comes away wondering if the whole project wasn’t just an excuse to hang out with some amusing people in an exotic location.

Richie Lanz (Bill Murray) is a former rock ‘n’ roll tour manager whose best years are long behind him. Now he runs scams on hopelessly untalented “singers” looking for their big break.

He lucks into a USO tour of Afghanistan using his Girl Friday (Zoe Deschenel) as the “star,” but the young lady is so appalled by Kabul’s chaos and violence that she bails, taking Richie’s passport and money with her.

Stranded in a strange world, Richie is adopted by a couple of stoner gun runners (Danny McBride, Scott Caan) who recruit him to make a delivery of ammo to a remote village.

There Richie discovers a great talent, a beautiful girl named Salima (Leem Lubany) who defies tradition and religious edict by retreating to a cave and singing her heart out. (All she knows are Cat Stevens tunes, but it’s a start.)

Richie comes up with a plan to get Salima on Afghanistan’s version of “American Idol.” Except that in doing so he will  be outraging half the nation — the male half — and putting both their lives in danger.

(more…)

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Bradley Cooper, Emma Stone

Bradley Cooper, Emma Stone

“ALOHA” My rating: C (Opens wide on June 5)

105 minutes | MPAA rating: PG-13

“Aloha” can mean either hello or goodbye. Thus it’s an appropriate title for a movie that doesn’t know if it’s coming or going.

That the latest from writer/director Cameron Crowe isn’t a total disaster can be credited to players whose charisma helps paper over the screaming holes and loopy notions marring the doddering screenplay.

These performers are just good enough to wrest a few memorable moments from the general chaos of an eccentric romantic comedy that isn’t particularly romantic or funny.

Brian Gilcrest (Bradley Cooper) is a near-legendary former Air Force officer who was deeply involved in the U.S. space program.  But after a long career decline and injuries incurred while a contractor in Afghanistan, he’s now a mere shadow of his former self.

He’s returned to his old stomping grounds in Hawaii as an employee of multi-billionaire Carson Welch (Bill Murray), who has invested heavily in a private rocket program and needs the blessing of native Hawaiian leaders to pave over some public relations potholes.

Brian’s assignment is too look up his old friend, the king of the nativist Nation of Hawaii (Dennis Bumpy Kanahele, playing himself), and secure said blessing.

Meanwhile Brian is torn between two women.  First there’s Tracy (Rachel McAdams), the love he unceremoniously dumped 13 years earlier. She’s now married to an Air Force Officer (John Krasinski) and the mother of two.

The arrival of her old flame — even in his semi-decrepit condition — exacerbates Tracy’s doubts about her marriage and a husband whose verbal communications are painfully  limited.

The other woman is Allison Ng (Emma Stone), a hotshot fighter pilot and one-quarter Hawaiian who is assigned as Brian’s military escort.  Allison starts out all spit and polish with a salute so sharp it snaps air molecules — but after a few days as Brian’s wingman  her military bearing turns all gee-whiz girly.

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Bill Murray

Bill Murray

“ST. VINCENT”   My rating: B (Opens wide on Oct. 24)    

102 minutes   | MPAA rating: PG-13

Moviegoers may be forgiven for approaching “St. Vincent” with caution.

After all, it features Bill Murray in full-curmudgeon mode as a coot who becomes the reluctant caregiver to the son of a single mother (Melissa McCarthy).

Sounds like a gig Murray could do in his sleep, and plenty of us already have maxed out on McCarthy’s brand of overkill comedy. Moreover, the whole thing reeks of “About A Boy: Geezer Division.”

Except that it works.

With his feature debut, writer/director Theodore Melfi can be accused of dishing Hollywood cliches, but his cast’s sheer good humor and professionalism lift this yarn. And the pile of improbabilities is offset by real heart and solid laughs.

TO READ THE REST OF THIS REVIEW VISIT THE KANSAS CITY STAR WEB SITE AT   http://www.kansascity.com/entertainment/movies-news-reviews/article3257681.html

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Ralph Fiennes in Wes Anderson's "The Grand Budapest Hotel"

Ralph Fiennes in Wes Anderson’s “The Grand Budapest Hotel”

“THE GRAND BUDAPEST HOTEL”  My rating: B (Opens wide on March 21)

100 minutes | MPAA rating: R

Wes Anderson’s “The Grand Budapest Hotel” is a whopper of a shaggy dog story – or more accurately, it’s a series of shaggy dog stories that fit neatly inside one another like one of those painted Russian dolls.

The film’s yarn-within-a-yarn structure and a delightfully nutty perf from leading man Ralph Fiennes are the main attractions here. I had hoped that “Grand Budapest…” would scale the same emotional heights as Anderson’s last effort, the captivating “Moonrise Kingdom.”

It doesn’t. But there’s still plenty to relish here.

Describing the film requires a flow chart. But here goes:

In the present in a former Eastern Bloc country, a young woman visits the grave of a dead author and begins reading his book The Grand Budapest Hotel.

Suddenly we’re face to face with the writer (Tom Wilkinson), who is sitting at the desk in his study. After a few introductory comments and a brusque cuffing of a small boy who is proving a distraction, the author begins telling us the plot of his novel.

Now we’re in the 1990s in the formerly sumptuous but now dog-eared Grand Budapest hotel in the Eastern European alps. Staying there is a Young Writer (Jude Law) who befriends the mysterious Mr. Moustafa (F. Murray Abraham). An aged empresario who owns several of Europe’s most luxurious hotels, Moustafa keeps the Grand Budapest running for nostalgic reasons.

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monuments_men“THE MONUMENTS MEN” My rating: C+ (Opening wide on Feb. 7)

118 minutes | MPAA rating: PG-13

Most of  the films George Clooney has directed  — “Confessions of a Dangerous Mind,” “Good Night, and Good Luck” and “The Ides of March” — have found him stretching himself, developing a style that was part indie edgy and part Hollywood classic, with a choice in topics that skewed liberal and humanistic.

His latest, “Monuments Men,” based on the real-life exploits of art experts who recovered masterpieces stolen by the Nazis, hits the Hollywood classic part perfectly. In fact it feels exactly as if it could have been made by a big studio in the early 1960s.

It’s been lushly produced, carefully scripted, tastefully shot. But edgy it isn’t…there’s hardly a moment here that doesn’t seem to have been painstakingly  weighed and thought out in advance.

Clooney — with a trim ‘stache and graying temples that make him look remarkably like a mature Clark Gable — portrays Frank Stokes, an art expert who creates a unit within the U.S. Army with the sole purpose of tracking down and saving art masterpieces looted by  the Germans.

He recruits a decidedly un-military bunch of art specialists, most of them pushing 60, who must undergo the rigors of basic training before they can be deployed to recently-liberated Normandy to begin their search.

(more…)

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