One Crazy Summer

“Stupid” is not always a pejorative. For instance, this is, objectively, a stupid movie. Yet, it’s not entirely a bad movie, and indeed, in certain parts the stupid is the appeal. The film hits all the '80s youth comedy fundamentals: the appealing couple (John Cusack and Demi Moore) in the lead roles, the cartoonishly obvious villains (including the de rigueur mean, uberblond rich kid), the musical montage at a key plot point (if one can even say this film has a plot), and an absurd and improbable victory in the climactic competition. Further fun derives from the supporting cast; you’re really hitting the '80s comedy taproot when your flick has both Bobcat Goldthwait and Curtis Armstrong in it. After that, having Mark Metcalf — that's Animal House's Niedermeyer, not to mention Buffy’s The Master, to you—as the primary villain is an embarrassment of riches. The soundtrack—a melange of then-contemporary pop hits to complement various Beach Boys "Soundtrack of Summer" tunes—also goes a long way toward building audience goodwill. Mostly, the appeal at this point grows out of a sense of nostalgia…if you’re the type who would actually remember the era and its characteristic entertainments. As noted, it’s really a pretty stupid movie, so anyone lacking the nostalgic angle—i.e., young people—probably won’t see anything good here. But for us elderly types, there’s a touch of amusement to be had from this work. 

Lee Daniels’ The Butler

Kind of like a differently shaded Forrest Gump. In this case, however, the Forrest character is divided up between the titular butler Cecil Gaines and his not-seeing-eye-to-eye son, both of whom get to experience various seminal moments of the 20th century firsthand. The strengths here lie mostly in the performances by the ensemble cast; no one gives a truly outstanding performance--not even a heavy-hitter like Forest Whitaker in the lead role--though everyone acquits himself or herself quite well. The film never quite rises to the epic and important heights to which it wishes to ascend, but it is still an entertaining and admirable work. Definitely worth a look.

The Ice Harvest

A run of the mill crime caper: the nervous partner; the crazier, cagier partner; the "perfect" crime; and how it all unwinds. All of this you've seen dozens of times before. This one brings its own unique touches of bad execution--Billy Bob Thornton's character, who seems more interesting than John Cusack's nervous shlub, disappears for long stretches of the story--to complement the standard issue cliches. It has its moments, as any professionally made movie will, but mostly it just leaves the viewer cold.

Max

An odd movie to watch, not for its content, or philosophy, or performances--more for the whole, inconsistent package. Director Menno Meyjes shows a strong visual style, and an intriguing willingness to let a scene play out in silence. The screenplay includes some interesting expressions of artistic philosophy, particularly in the exchanges between Noah Taylor's young Adolf Hitler and his Jewish quasi-friend, art dealer Max Rothman (John Cusack). The film crackles when they are on screen together. Otherwise, the pace is slow and the performances ordinary, and some of the philosophical underpinnings of Nazism are presented in a ham-handed fashion. Probably worth it for history buffs (though this is fiction) and those with an artistic bent; others might not want to bother.

The Grifters

With a title like that, you expect a movie chock full of entertaining flim-flam action. Not so here, to the film's detriment. I found myself bored by the interpersonal angst between the cast of cheap hustlers. The story never gives us enough reasons to care about these people. A disappointment.

The Road To Wellville

You have to make a decision, folks: am I making a comedy, or a drama? Few can pull off both at the same time. And when you don't pull it off...well, kids, don't try that at home. Also, it helps to have a story, as opposed to stories, each of which only vaguely relates to the others. Put it all together, as with this movie, and you've got quite a mess. The few truly funny moments indicate that a tighter comedy would have been a good decision. Way too late now.

Identity

Well, that was a trip. A good one, for this type of movie, which is not really my thing. You could argue about certain implausibilities, but then again, the whole thing is implausible; why quibble about the talking bird when the whole sky is filled with pink elephants? The ending is a little weak, but the writing is sharp, the performances are excellent, and it's not too long (a common problem with movies of this ilk). All in all, a good time at the movies.

Midnight in the Garden of Good and Evil

Not so bad for the performances, but overly long, tepid in execution, and unfocused. The strongest part of the story centers on the relationship between the two main characters; when John Cusack and Kevin Spacey are on the screen together, the movie is much more interesting. Unfortunately, there's way too much sideshow here.

America's Sweethearts

Mildly amusing. The ever reliable John Cusack comes through, for the most part, and no one particularly embarrasses himself or herself. But the humor doesn't cut nearly as deep as it should have; and the movie's satirical targets have already been shot to death a thousand times over.

The Thin Red Line

Wow--they made Guadalcanal boring. Almost a twin to Saving Private Ryan--another ponderous, pretentious WWII epic that had virtually no real story to speak of. Oh well--at least it looked nice.

High Fidelity

As with Grosse Pointe Blank, more good work from John Cusack. The scene with Tim Robbins in the record store is by itself a reason to watch.

Grosse Pointe Blank

A hit man goes home--what could be funnier? A lot of things, actually, but this flick still finds plenty of laughs. Nice work by the consistently underrated John Cusack.