Girl Week 2018: Tully

The Conjuring

Directed by James Wan.

2013. Rated R, 112 minutes.

Cast:

Vera Farmiga

Patrick Wilson

Ron Livingston

Lili Taylor

Shanley Caswell

Hayley McFarland

Joey King

Mackenzie Foy

Kyla Deaver

Shannon Kook

It’s 1971 and the Perron family, Carolyn (Taylor), Roger (Livingston), and their five daughters, moves into their new house which is certainly a fixer-upper. Shortly thereafter they discover a basement that was completely boarded up and add that to the to-do-list. Of course, things start going bump in the night and scaring the bejeezus out of everyone in the house. When things get to be too much Carolyn seeks out the help of renowned demonologists Ed (Wilson) and Lorraine (Farmiga) Warren. More strange stuff ensues. All of this is kinda-sorta supposedly allegedly maybe based on a true story.

What The Conjuring does best is simply be what it is, an old fashioned haunted house flick. In spite of this, the movie succeeds. Somehow, instead of being a lame, by-the-numbers affair, it milks the formula for all its worth. It is, at once, a call back to an era gone by and a breath of fresh air. The tension builds steadily until the whole situation erupts in the final act. While we wait to get to that point we settle into the sweet spot of having a good idea how things are going to happen but still being glued to the screen to watch it play out.

Almost everyone on the screen feels like a stock character. This is a bit of a drawback, but everyone plays their roles so well it hardly matters. The ladies stand tall in this crowd, starting with Lili Taylor as mom Carolyn. She is the vessel through which we experience the movie. She gives a superb performance displaying a woman whose mental state is steadily decaying as the inexplicable keeps happening around her. As someone who has already gone through some odd things in her life, Vera Farmiga is nearly as good. By the way, Farmiga’s character Lorraine and her husband Ed are indeed based on the real-life couple of the same name and job description. In fact, they were the first paranormal investigators on the scene of the infamous Amityville Horror. Perhaps not so coincidentally, this movie bears a healthy resemblance to that genre giant.

As good as the acting is, for me, the key lies in our ghosts. There is a sense that something bad could happen to these people at any moment. They feel like a real threat. This is completely opposite of director James Wan’s other haunted house flick, Insidious. In that movie, the haunters come off as benign. They never seem like they’re really out to get the family in the house. They show up, mug for the camera and disappear. Here, they add a much more real sense of danger, making this a much more interesting ride. Where Insidious is overwrought and plodding, this one snaps, crackles, and pops.

MY SCORE: 7.5/10

Drinking Buddies

Directed by Joe Swanberg.

2013. Rated R, 90 minutes.

Cast:

Olivia Wilde

Jake Johnson

Anna Kendrick

Ron Livingston

Jason Sudeikis

Ti West

Kate (Wilde) and Luke (Johnson) work at the local brewery. After a long, but usually fun day at work, they tend to head down to the nearest bar with a number of their other co-workers and drink lots of their own product. It is painfully obvious the two have a thing for each other. The issue here is two-fold: 1) Each is involved in a serious relationship with someone else, and 2) Neither of them will own up to how they feel about the other. Instead, they flirt endlessly. They do it that way people do when they have a really strong connection. Of course, they think it is mere friendship. So Kate thinks it's no big deal to invite Luke and his girlfriend Jill (Kendrick) up to her boyfriend Chris' (Livingston) beach house for the weekend. They accept. Life rolls on from there.

When I say 'life rolls on,' that's probably the best compliment I can give this movie. It's a true slice-of-life flick in every sense of the term. There really is no plot. Everything about our leads are just the facts of who they are, not set ups for some grand character arc. Finally, Drinking Buddies doesn't end so much as it just stops. When it does, I wouldn't blame anyone who throws their arms up and says "WTF!" when the final credits roll. I suspect that's what's behind the disparity between how critics view this movie and how normal folks see it. Critics have praised it while audiences are rather lukewarm toward it. The things it doesn't have are the things we've been trained to expect from our films. Without those things we're left with a feeling of uncertainty about what we just watched. A movie lacking a definitive beginning, middle, and end might not immediately make sense to us.

Enjoying DB requires a willingness to take it on its own terms and, perhaps, actually thinking about it afterwards. That's because we may have to sort some things out. It does what I often knock other movies for not doing. It shows, not tells. Counter intuitive to that sentiment, this movie is much more noun than verb. It is something that is, not something that does. We're used to our visual media "doing" for us. It sticks around until the bad guy is caught and the hero gets the girl. Little to no effort is required of us. Therefore, most of us don't have the energy for a movie with a figurative test at the end. I like this movie. That's not to say I'm smarter than people who don't. I'm just more willing to put in the work necessary to appreciate it.

I feel like I've rambled quite a bit without saying much about the actual film. There really are reasons to enjoy it as it goes along. Right away, it positions itself as a dramedy. It makes us laugh, but that's not necessarily it's aim. It's more about exploring the relationship between Kate and Luke. Whatever drama or humor that comes out of this is organic to the human experience, not gags or overly contrived melodrama. To their credit, our stars are an immense help in this area. Both Olivia Wilde and Jake Johnson deliver completely natural performances. Wilde is particularly good. Her best acting is done by her eyes during pauses in dialogue. When she speaks, she feels like a woman we might know. The same is true for Johnson. Well, he sounds like a man we might know, not a woman. You understand. Through the two of them, we sense these are people who are aware of their feelings, but struggling mightily not to act upon them. Immediately, we start wondering "will they," or "won't they." This uncertainty drives the movie. Our curiosity happily rides along on this train. I like where it drops us off. I'm not sure you will.

Parkland

Directed by Peter Landesman. 

2013. Rated R, 93 minutes. 

Cast: 

Paul Giamatti 

James Badge Dale 

Zac Efron 

Colin Hanks 

Marcia Gay Harden 

Billy Bob Thornton 

Jacki Weaver 

Jackie Earl Haley 

Ron Livingston 

Jeremy Strong

As we were all reminded last year, during which the 50th anniversary of the event occurred, Pres. John F. Kennedy was assassinated in Dallas, TX on November 22, 1963. Parkland tells the story of what happened starting a few moments before he was shot until the time he was buried a few days later. The title refers to Parkland Memorial Hospital, where Pres. Kennedy was taken after being shot. We go there with him and go through the attempts to save his life, headed up by Dr. Jim Carrico (Efron), a very young doctor, and seasoned head nurse Doris Nelson (Harden). We see how first the Secret Service and then hordes of media folk descend upon Abraham Zapruder (Giamatti) when it becomes known that he caught the tragedy on film. We're also privy to the fed's handling of Lee Harvey Oswald (Strong) and his family. Finally, we deal with the shift in focus to protecting Lyndon B. Johnson who suddenly found himself President of the United States.

The fly on the wall perspective makes this about as close to being there as a movie is likely to get. To perpetuate that feeling, the camera is often in odd locations. A lot of times it is at a distance we would normally think of as too close. We can't make out much of the rooms these people are in. This is particularly true of the scenes in the operating room. It helps foster the feeling of being in a crowded space with almost no wiggle room. Outside the hospital, this technique hints at how little each person involved was really aware of, or could see from their vantage point.

In keeping with its documentary like survey of events, the acting is so good across the board it feels like we are watching the actual people live through a moment in history. Paul Giamatti and Marcia Gay Harden are, excellent as always. Billy Bob Thornton simply dominates the screen in one of his better, but bound to be underrated performances. Even Zac Efron impresses. His portrayal of Dr. Carrico rings true right from the start. In the film's showiest performance, Jacki Weaver is absolutely mind-blowing as Lee Harvey Oswald's mother Marguerite. She quickly becomes a person we love to hate, possibly even more than her son who killed arguably the most beloved U.S. president of the 20th century. Kudos to Weaver for completely selling it. Conversely, the person we most sympathize with is her other son Robert played with remorse for his brother's actions by James Badge Dale.

Clocking in at a shade under ninety minutes when you subtract the credits, it is a movie that moves at an extraordinary pace. It packs each frame to the gills and sprints by. As fast as it moves, it has no time to do what a lot of movies based on true events can. There is no theorizing about grassy knolls, second shooters, and the like. There also doesn't appear to be much in the way of agenda pushing. It just punches us right in the mouth with the most corroborated parts of a still mysterious story. It ends without any speculation whatsoever. Therefore, Parkland is certainly not the most contemplative JFK movie you'll ever see, but it's likely the most visceral one.

MY SCORE: 9/10

The Odd Life of Timothy Green

Directed by Peter Hedges.

2012. Rated PG, 105 minutes.

Cast:

Jennifer Garner

Joel Edgerton

Dianne West

CJ Adams

Rosemarie DeWitt

Ron Livingston

David Morse

Common

Cindy (Garner) and Jim Green (Edgerton) are a happily married couple with one major problem. For whatever reason, they will never produce a baby of their own. We meet them as they’re applying to become adoptive parents. When asked what qualifies them for parenthood, they relate the story of Timothy (Adams), their son. Confused? Okay, pay attention. The year before, the Green’s decided they were going to move and continue their lives without worrying about having children. To symbolize this, they bury their list of baby names in the backyard. When it rains that night, guess what grows like a planted seed? Only, instead of a newborn the Greens get Timothy, a ten year old boy with leaves attached to his legs. A crash course in parenting ensues.

Ask any parents, if you yourself are not one, and they will tell you that your first child teaches you how to be one. This happens as the child grows from birth. Imagine the confusion someone feels if they suddenly gained a ten year old after not having any kids at all. You may think you know what to do, but will quickly discover you don’t. Such is the case with the Greens. Things arise that they are totally unprepared for. We watch as they muddle through them. We also get to see Timothy grow as a person. Though undeniably awkward, he is a charming kid. Along with Jennifer Garner’s angst and Joel Edgerton’s flusteredness (?), Timothy pulls us through the movie.

The cynic in me wants to hate this movie so badly because of all it’s thorough Disneyness. Throughout the succession of obstacles placed before our microwave family, we’re given heartwarming, cute and heartwarmingly cute moments. Timothy repeatedly proves to be everything the Greens hoped for, in quite the literal sense. A number of these also have enough humor to keep things bouncing along merrily. And of course, our little hero changes the lives of everyone he comes into contact with. This is all so syrupy sweet I think it will force my lunce to reappear as soupy chunks on my lap, but it doesn’t. Somethow, The Odd Life of Timothy Green drives right up to the cliff of happiness where it threatens to fall into a hopelessly twee abyss. Alas, it manages to keep its balance. I keep all of my meals down plus the popcorn I’ve been gnawing on. Everybody wins.

Dinner for Schmucks

Directed by Jay Roach.
2010. Rated PG-13, 114 minutes.
Cast:
Steve Carell
Paul Rudd
Stephanie Szostak
Zach Galifianakis
Jermaine Clement
Bruce Greenwood
Lucy Punch
Ron Livingston
Larry Wilmore

After one of his co-workers is fired, Tim (Rudd) joins the mad dash to replace the guy in hopes of a raise and a large office on the 7th floor. He comes up with an idea to potentially lure a huge client which makes himself the prime candidate for the promotion. To seal the deal, he not only has to land the client, he has to attend a very special dinner at the boss’ house. What makes it special is that it is the annual “Dinner for Winners.” The “winners” are really people that the execs at the company think are idiots. Each of them must bring one such person that they will all make fun of. At the end of the night, they give a trophy to whoever they deem is the biggest idiot. However, they call him or her the most extraordinary person and never let them in on the joke. Tim’s dilemma is that the girl he’s been practically begging to marry is appalled at the idea and wants him not to go.

To complicate matters, a person that fits the bill to a tee practically falls into his lap. In a case of neither guy paying as much attention as they should, Tim hits Barry (Carell) with his car while Barry is trying to pick up a dead mouse he’s spotted in the street. It turns out he uses the deceased critters to create his artwork. Some of it is original, some are replicas of already famous pieces of art. Think “The Mona Lisa,” only using a rodent instead of a woman. Of course, Tim invites Barry to that special dinner. From that point on, Tim’s life is turned upside down.

A huge chunk of the movie proceeds as follows: Barry does something dumb and/or presumptious with predictably catastrophic results. Tim yells at him. He tries to help fix the problem, but makes it worse. Some of it is funny, a lot of it isn’t. There is also the subplot of Tim’s girl Julie (Szostak) possibly sleeping with over-sexed and eccentric artist Kieran (Clement). Things finally take a turn for the better when we meet Barry’s boss Therman, played brilliantly by Zach Galifianakis. The intense gaze on his face and his cheesy magician’s mannerisms are perfect. Almost all of the funniest scenes in the movie involve him. This includes the “pudding” joke which has a perfectly orchestrated delayed effect.

Galifianakis doesn’t show up until late in the second act. He elevates the movie to the level of watchable, at least while he’s on the screen. He can’t make the ending acceptable, largely because we know what’s coming right from the start. The bigger issue is we can’t quite muster up the sympathy needed to make it work. We can’t because even though Barry is certainly pathetic enough, he’s not likeable enough. The problems he’s caused can’t be attribute to naivete even though that’s what we’re supposed to believe. They’re things that, if I were Tim, would’ve caused me to try and do him bodily harm. In other words, we don’t feel bad when Tim makes him feel bad. We think he deserves it. The effect on the movie is that we don’t really care how it turns out, we just want it to end.