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Posts Tagged ‘Liev Schreiber’

Vince Vaughn

“BAD MONKEY” (Apple +)

Vince Vaughn has been waiting more than 20 years for a role that would perfectly mesh with his droll, super-dry persona.  In “Bad Monkey” he finds it.

As disgraced Key West police detective Andrew Yancy, Vaughn seduces us with virtually every line of dialogue and deadpan expression.  He’s like a beach bum with a badge.

He’s surrounded by a cast of entertaining eccentrics  courtesy of novelist Carl Hiaasen, a former Miami Herald writer whose novels provide a wickedly jaundiced view of Florida’s human fauna.

Created by the great Bill Lawrence (“Scrubs,” “Ted Lasso”), this series opens with the discovery of a severed human arm snagged on a fishing line. The sets in motion Yancy’s quest to track down a missing con man and his scheming trophy wife. His search will take him from Key West to Miami to the Bahamas.

Satisfying from a mystery/comedy aspect, “Bad Monkey” also captures the captivating weirdness of the Sunshine State, that blend of redneck bohemia and big-money crassness mined so well in Hiaasen’s novels. 

Fleshed out with first-rate supporting players — among them Michelle Monaghan, Rob Delaney, Alex Moffat and Scott Glenn, just for starters — and you’ve got a show so good you don’t care if they ever solve the mystery.

Liev Schreiber, Nicole Kidman

“THE PERFECT COUPLE”(Netflix)

Okay, I get it.  Rich people are assholes.

 I’m just not sure I needed six hours of immersion in said asshole-ism .

“The Perfect Couple” is a murder mystery set on Nantucket Island during an obscenely expensive  wedding celebration.  At the end of the first episode, after a night of partying, one of the guests washes up dead on the beach.

The local police chief (Michel Beach) and a chijp-on-her-shoulder  detective (Donna Lynne Champlin) have plenty of suspects to suss out, and each of the ensuing five episodes centers on one  or two of the potential killers. 

The groom’s parents are the perfect couple of the title, though that’s a carefully curated illusion. The haughty/brittle Greer (Nicole Kidman) writes popular mystery novels, while hubby Tag (Liev Schreiber) smokes pot, lobs golf balls into the sea and spends wifey’s money on other women.

Their son the groom (Billy Howie) is actually a pretty decent guy; his bride-to-be  (Eve Hewson) is a middle-class girl uncomfortable with the ostentation in which she finds herself drowning.

The groom’s older brother (Jack Reynor) is a spoiled jerk and financial disaster; his preggers wife (Dakota Fanning)  is a social climber who puts up with her husband’s philandering because, well, he’s rich.

The maid of honor (Meghann Fahy) is a party girl; the best man (Ishaan Knatter) appears to be a surf bum but is actually a millionaire. And there’s a predatory and witheringly ironic French lady (Isabelle Adjani) who seems to have bedded most of the men in the wedding party.

There’s amusing interplay between the working-stiff cops and the nose-in-the-air suspects. But there are way too many superfluous subplots, digressions, red herrings and narrative dead ends. For much of the series I felt I was treading water…getting in my exercise but going nowhere.

Still, the performances are good (I especially dug Schreiber’s laid-back kept man) and the faces and figures attractive.

Aasif Mandi, Mike Colter, Katja Herbers

“EVIL” (Paramount +)

After three hugely satisfying seasons of “Evil” I’d like to hang out with series creators Michelle and Robert King. I mean, people who can effortlessly mix demonic possession and insouciant humor are bound to be fine dinner companions.

The series’s premise is simple yet deeply nuanced.  Three investigators are hired by the Roman Catholic Archdiocese of New  York to investigate reports of the supernatural.

They are seminarian David Acosta (Mike Colter), clinical psychologist and agnostic Kristen Bouchard (Katja Herbers) and lapsed Muslim and hardcore scientific rationalist Ben Shakir (Aasif Mandi).

There’s huge fun in watching the three play off each other…lots of good-natured banter as their conflicting world views collide (think Scully and Mulder plus one). And every week, of course, they have a new mystery to unravel, whether it’s a ghostly apparition, a fierce mutant pig or an ancient relic housing a malevolent spirit.

Creepy special effects and skin-crawling atmosphere aside, it’s the personal stories that really fuel the show.  Foremost is the simmering intensity between Colton’s priest-in-training and Herbers’ mother of four (or is it five?) that will have audiences simultaneously rooting for them to hit the hay together and dreading the repercussions.

There are numerous amusing supporting characters, especially Andrea Martin as a no-nonsense nun with the ability to see demons, Christine Lahti as Kristen’s cougar-ish mother and Michael Emerson as her boyfriend, a slimy psychiatrist heading a secret cabal of Satanists preparing for the birth of the antichrist.

And there are a whole mess of demons who’ll leave you torn between shuddering and giggling…who knew that Satan’s minions were disgruntled  working stiffs like the rest of us?

| Robert W. Butler

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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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Liev Schreiber as boxer Chuck Wepner

“CHUCK” My rating: B

98 minutes | MPAA rating: R

Watching a familiar actor utterly lose him/herself in a role is one of the deep pleasures of moviegoing.

Liev Schreiber makes that transformation in “Chuck.” But then so do Naomi Watts (a.k.a. Mrs. Schreiber), Elizabeth Moss, Ron Perlman and Jim Gaffigan.

The subject of director Philippe Falardeau’s bracing little film (the screenplay is credited to Jeff Feuerzeig, Jerry Stahl, Michael  Cristofer and Schreiber) is Chuck Wepner, the  New Jersey club fighter known affectionately/sardonically as the “Bayonne Bleeder” for his willingness to be beaten to a pulp.  (In fact, “Chuck’s” original title was “The Bleeder.” Wish they’d stuck with it.)

In 1975 the virtually unknown Wepner got a crack at taking away Muhammad Ali’s heavyweight belt in a bout conceived and advertised by promoter Don King as a blatant racial  confrontation.

Werner’s fight strategy was pretty simple: “I could’t hit  him. I figured I’d wear him down with my face.”

Wepner didn’t win, but he lasted for more than 14 bloody rounds against the world’s best, sending the champ to the mat once and losing by a TKO with only 19 seconds left in the fight.

Out in Hollywood a struggling actor named Sylvester Stallone was so inspired by Wepner’s David-and-Goliath story that he wrote a screenplay called “Rocky.”

“Chuck” isn’t really a boxing film. Rather, it is simultaneously a fact-based yarn about the ever-widening fallout from the Ali-Wepner fight and a character study of a Palooka whose a brief brush with fame went straight to his head.

Schreiber’s Chuck, who narrates his story, is by most accounts a pretty average guy. He worked as a nightclub bouncer and as a debt collector for a loan shark, though his heart wasn’t in it. (“I was never good at roughing guys up. Too nice.”)

His wife Phyllis (Moss) is the family breadwinner, thanks to her gig with the U.S. Post Office. Chuck shows his appreciation by writing heartfelt doggerel about her virtues.

Eventually an admirer lands Chuck a liquor distributorship.  It’s an OK living, but it provides way too many opportunities to hang around bars and pick up other women. (It also provides an opportunity for a soundtrack filled with disco hits.)

The Ali fight provides Chuck with bragging rights and celebrity status.  Once “Rocky” becomes an Oscar-winning phenomenon, everyone assumes he must have sold his story to the  movies for big bucks.  In fact, Chuck didn’t earn a cent off the film.

(more…)

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