Feeds:
Posts
Comments

Posts Tagged ‘Nick Offerman’

Michael Keaton

Michael Keaton

“THE FOUNDER”  My rating: B- 

115  minutes | MPAA rating: PG-13

“The Founder” is like a Big Mac concealing a piece of broken glass.

John Lee Hancock’s film about the creation of the world’s most successful fast food chain starts out as a playful story of capitalist innovation and gung-ho drive.

But it leaves us thinking that nobody rises to the top of the corporate heap without screwing over a good many people along the way.

We first meet Ray Kroc (Michael Keaton) delivering his pitch directly into the camera.  Like most good salesmen he believes success is less dependent upon the peddled product (in this case industrial-strength milkshake makers) than on the personality and persuasion of the seller.

Except it isn’t working. Kroc spends his weary days traipsing across the Midwest of the mid-1950s, visiting Ma and Pa drive-in restaurants whose owners can’t see the point in a machine that makes six shakes at once.

But a side trip to San Bernardino, CA and the drive-in run by the McDonald brothers — Mac (John Carroll Lymch) and Dick (Nick Offerman) — is an eye opener.

Mac and Dick have created an operation capable of delivering an order of burger, fries and drink in just 30 seconds.

Everything is streamlined in a “symphony of efficiency.”

The McDonalds have instituted a kitchen assembly line that would make Henry Ford proud. There’s no dining room. No utensils or plates. Everything is wrapped in disposable paper. No girl on roller skates to deliver the food to your car (customers have to shlep up to the order window).

But the food is great and business is hopping.

Ray Kroc has seen the future.

 

(more…)

Read Full Post »

Olivia Cook, and

Olivia Cooke, Thomas Mann and R.J. Cyler

“ME AND EARL AND THE DYING GIRL”  My rating: B

105 minutes  | MPAA rating: PG-13

The dying teen film — last year’s “The Fault in Our Stars” being a prime example — typically wrings romance from the weepy nexus of young love and early death.

The Sundance hit “Me and Earl and the Dying Girl” takes a different approach, eschewing tearful swooning and emphasizing a snarky (almost too snarky) humor.

Oh, it’ll still have you groping for a tissue in the last reel, but it’s much more devious than its filmic brethren about getting us there.

The protagonist and narrator of director Alfonso Gomez-Rejon’s debut feature is Greg (Thomas Mann), a high school senior who like many a smart dweeb before him employs post-modern irony to shield himself from adolescence’s slings and arrows.

Greg oozes weary contempt for the inanities of both teen and adult society (the latter represented by his touchy/feely parents played by Connie Britton and Nick Offerman). He has navigated the shark-infested waters of a big-city school by becoming a human chameleon, ingratiating himself with various youthful castes. Everyone thinks he’s part of their club, but nobody really knows him.

Perhaps not even Earl (R.J. Cyler), Greg’s best friend since elementary school. They’re an odd couple — the nerdy white guy and an ultra cool black kid.

Greg and Earl are fans of art house movies — we can’t be sure if they really like highbrow films or are just determined to set themselves apart from their mass-consuming peers — and devote their spare time to making short movies parodying cinema classics.

These goofy amateur remakes have clever names (“Grumpy Cul-De-Sacs” is the boys’ take on “Mean Streets”: “MonoRash” spoofs Kurosawa’s “Rashomon”; “Senior Citizen Kane” and “My Dinner With Andre the Giant” speak for themselves) and they’re fun in a so-bad-they’re-good way. (Jesse Andrews’ screenplay, adapted from his novel, references Wes Anderson’s “Rushmore,” whose high school hero stages theatrical adaptations of his favorite films. )

Greg’s too-hip-to-be-bothered facade gets shaken up though, when his mother insists he pay a visit to Rachel (Olivia Cooke), a classmate recently diagnosed with leukemia.

Neither Greg nor Rachel have any illusions about why he shows up at her door. It’s mom-mandated community service, and since Rachel shares some of Greg’s suspicions about conventional sentimentality and socially appropriate behavior, she makes  no demands on her new friend (although Rachel’s needy single mom — Molly Shannon with endlessly replenished glass of white wine — is pathetically grateful for her daughter’s gentleman caller).

One reason Greg keeps coming back — though he’d never admit it — is that Rachel has his number.  She knows the teenage fear of putting oneself on the emotional line and drawing back a stump; she recognizes in Greg and Earl fellow committment phobes. (more…)

Read Full Post »