Review: "Irresistible"

I always thought Jon Stewart was overrated as a TV fake news host, but he’s turning out to be a pretty decent filmmaker.

His fine directorial effort, “Rosewater,” had an international backdrop and didn’t get seen by too many people. Stewart’s second, “Irresistible,” is a sharp political satire that takes aim at the money, hype and competition-for-competition’s-sake mentality that drives our electoral system.

Political comedy/dramas are a fraught cinematic subspecies that’s been historically hit or miss, and as a result have fallen out of favor these days. “Long Shot,” “Vice” and “The Campaign” are the only ones I can immediately recall from the last few years, and they range from decent-ish to plain awful.

Stewart (who also wrote the screenplay) manages to avoid a big pitfall by casting Steve Carell as the lead, a scheming Democratic campaign veteran named Gary Zimmer. Gary represents pretty much everything wrong with American politics, and yet we can’t help liking him. It’s tough to march through an entire movie not being able to stand your main character.

As the story opens, the Hillary Clinton campaign has crashed to earth and the Democratic party is in a shambles, looking for any kind of win. Gary, who used to work for Bill, comes up with the idea of backing a conservative-leaning candidate in the heartland to show everybody the Dems can have a broad tent that includes guys with pickups and rifles.

When Jack Hastings (Chris Cooper) makes an impassioned speech at his town council about not excluding illegal immigrants and a video of it goes viral, Gary knows he’s found his man. Jack looks straight of central casting in the Gary Cooper mold -- a farmer, retired Marine colonel and widower, doesn’t talk a lot but is a fountain of homespun wisdom when he does.

(Though I’ve never met a farmer who uses that much hair product.)

Soon Gary has arrived in tiny Deerwaken, Wis., to convince Jack to run for mayor against the incumbent (Brent Sexton). Jack resists, but agrees on one condition: that Gary himself run the campaign. Soon Gary has brought his entire army of high-priced consultants, pollsters and other experts to run a Senate-level campaign in a town of 5,000 people.

The first half or so of the movie is fun and light and terrific. Stewart gleefully mocks pretty much everybody, from both political parties to the hapless media, who are depicted as being like that dog from “Up” -- clueless and easily distracted. Meanwhile, the townsfolk are authentic and humble and nice as pie.

I appreciated “Irresistible” for not always choosing the most obvious direction, like having Gary go all “Local Hero” and fall in love with the backward ways (to jet-setters like him) of Wisconsin. There’s also a bit of romantic interest with Jack’s plucky daughter, Diana (Mackenzie Davis), who likes to point out Gary’s condescending ways with a smile and some light flirting. She’s a lot younger than Gary, but Hollywood has its ways of glossing over such things.

Probably the film’s biggest failing is re-introducing the character of Faith Brewster, an utterly soulless GOP operative played by Rose Byrne. She beat Gary in the last election, and midway through the movie arrives with her own forces to put down Jack’s nascent campaign, because apparently flipping one mayoral seat in Wisconsin will start a national trend, or something.

Gary and Faith once had a thing with each other, so it immediately becomes a tit-for-tat exchange -- Faith brings in some big-name donors, so Gary does too, etc. Lots of insults and sexual innuendo fly around. It all has a very sitcom-y feel and belongs in another, lesser movie.

Holding it all together is Carell, who has that rare, mysterious ability to play off-putting (“The Office”) or even nasty (“Vice”) characters and come across as appealing. Gary is a jerk, but (unlike Faith) he’s a jerk who doesn’t realize he’s being a jerk, and if it’s pointed out to him can be redeemed, if only for a while.

Stewart gets a little preachy and self-righteous toward the end because, well, he’s Jon Stewart and that’s his bag. But missteps aside I found “Irresistible” to be a fun, smart and even occasionally delightful send-up of a problem everybody sees but pretends not to.

Review: "BlacKkKlansman"

I’ve been looking forward to “BlacKkKlansman.” It’s been awhile since I could say I was genuinely anticipating a new Spike Lee movie.

Heck, I’ll admit that lately I haven’t been aware when a new Lee “joint” -- his word for his work -- has been about to come out. Let’s just say the acclaimed cinematic purveyor of African-American experiences hasn’t been the cultural force he once was in the 1980s or ‘90s. I think “Miracle of St. Anna” from a decade ago was his last feature I saw in a theater.

“BlacKkKlansman” won the Grand Jury Prize at the Cannes Film Festival, an annual event that lately has told us more about how the French feel about America or its current president than they do about a particular film.

Lee’s movie, based oh-so-loosely on the true story of a black police officer who successfully infiltrated (sorta) the Ku Klux Klan in the 1970s, is an explicitly anti-Trump movie that unambiguously links the president’s worst rhetoric with the overtly racist tactics of white supremacy groups of the day.

They’re still doing the same things, Lee argues, they’ve just dressed it up in more palatable terms.

Based on the book by Ron Stallworth, with a screenplay Lee collaborated on with Charlie Wachtel, Kevin Willmott and David Rabinowitz, “BlacKkKlansman” follows Stallworth (a charismatic John David Washington) as he joins the Colorado Springs Police Department in the late 1970s. Through grit, talent and spunk, he moves up from the records room to undercover detective.

His first assignment: infiltrate a speech by the former Black Panther firebrand Stokley Carmichael (Corey Hawkins) to see if he’s riling up Colorado Afro-Americans. (Pity that term didn’t outlive the ebony nimbus hairdos of the day, which are replicated for the film to glorious effect.)

There he meets Patrice (Laura Harrier), president of the local black student union. He finds himself sympathetic to their revolutionary rhetoric, and drawn to her passion.

After seeing a recruitment ad in the local paper by the KKK, Ron calls up the number and uses his “white voice” to convince them he’s an Aryan type who hates all people of color. The relationship builds until they want to meet in person, which presents an obvious problem. So fellow detective Flip Zimmerman (Adam Driver) is brought in to play Ron in the face-to-face encounters, with the real Ron listening in via the wire attached to the ersatz one’s chest.

The Klansmen are an assortment of buffoons, mouth-breathers and dead-enders, so we never really take them too seriously. Topher Grace plays Grand Wizard/Executive Director David Duke, who’s still a prominent voice in the white supremacist movement, as a gullible -- even slightly needy -- fellow who thinks in Ron he’s found a fellow traveler.

They talk on the phone frequently, and at one point Ron even goads Duke into claiming he can tell the difference between a white man’s voice and a black one’s.

The only one who’s truly scary is Felix (Jasper Pääkkönen), the most militant member of the local Klan. He is immediately suspicious of Flip, insisting he looks like a Jew (he is), and suspects him of trying to infiltrate the group for nefarious purposes (right again). His warnings go unheeded, of course.

Like a lot of Spike Lee’s films, “BlacKkKlansman” mixes comedic satire with barely suppressed rage. Much of the actual events depicted are Hollywood inventions, which is par for the course.

We drink in Ron’s brazenness, laugh at the cartoon Klansmen and, if we’re so disposed politically, nod our head sagely when Lee cuts to news footage of Trump or Duke speaking contemporaneously.

It’s an entertaining, messy film that thinks a bit too much of itself.

Review: "American Ultra"

"American Ultra" is a quirky take on an old saw. This action comedy stars Jesse Eisenberg as a seemingly normal guy who discovers one day that he has amazing skills, including the ability to take down armed assailants with his bare hands. He wasn't even aware he could do this, until he does it.

We've seen this idea before with "The Bourne Identity," "The Matrix" and countless other flicks. The notion holds appeal because maybe anyone of us could be revealed as the badass chosen one, too.

The twist here is that Eisenberg is seemingly the last guy on Earth who could secretly be a trained super agent. It starts with the actor's small stature, unimpressive physique, soft features, trembly voice and disappearing chin. If you looked up "beta male" in the dictionary, it'd probably have his picture as an illustration.

Screenwriter Max Landis ("Chronicle") layers on the reinforcing characteristics. Mike Howell is an unassuming stoner who clerks at the Stop-n-Go, gets high with his girlfriend, Phoebe (Kristen Stewart), draws an amateur comic starring Apollo Ape and Chimp the Brick, and does little else. He's wracked with crippling phobias, including a violent aversion to leaving his town of Liman, West Virginia.

As the story opens, they are about to fly off on a Hawaii trip where Mike plans to pop the question. (Hawaii? Fancy ring? Must've been a lot of double-shifts at the Stop-n-Go.) But he's unable to get on the plane, and worries that he's just slowing Phoebe down. But then some big guys in black camo show up out of nowhere and try to kill him, and Mike easily takes them out armed with nothing more than a piping hot cup o' soup and a spoon.

Here we have the classic trope about the master spies deciding that a rogue agent who hasn't done anything to anybody in years needs to be eliminated -- even if it requires expending many more agents' lives and the entire operational budget to do it. Listen, spooks: if Jason Bourne decides he wants to retire on the beach, let him get fat on barbecue and piña coladas.

Topher Grace plays the maniacal young CIA chief who goes after Mike, and he's got a small army of his own twisted agents to do it. Of course, he always sends them against clerk-boy in twos and threes, instead of calling the whole gang in at once. On several occasions he's literally got a bunch of his "tough guy" spies sitting around doing nothing while he picks a pair to be the latest sacrificial lambs.

Lesson two, spooks: if you have 17 guys to dispatch against one, why in the world would you not just send all 17?

Connie Britton plays the good CIA gal who recruited Mike (unbeknownst to him) and is still looking out for him. Walton Goggins, so great on the "Justified" TV show, is the Laugher, one of the evil toadies. John Leguizamo turns up as your friendly neighborhood drug dealer, and Tony Hale plays a nebbishy desk agent caught between loyalties.

It's a fun ride, and director Nima Nourizadeh keeps things moving at a snappy pace. Eisenberg and Stewart have nice chemistry together in between all the chases and dismemberments. (Though I recommend the little-seen "Adventureland" if you really want to see some romantic sparks fly between them.)

"American Ultra" succeeds under the wallflower charms of Jesse Eisenberg and a clever script. Sometimes even pathetic losers can kill you with a spoon, so be nice.

Review: "Valentine's Day"

"Valentine's Day" is more a marketing push than a movie. I have no doubt its genesis occurred in a cynical producer's office with dreams of opening weekend box office tallies -- not the den of a writer with a burning story to tell.

It's a manufactured film about a made-up holiday.

The movie boasts a huge roster of stars in one of those ensemble-casts-with-intersecting-storylines dealies. The boyfriend who proposes to his girlfriend is best friends with the woman who's a teacher with a boy in her class who buys roses from the first guy's flower shop, and so on.

Every time a new character arrives, we wonder where they will fit into this ever-expanding puzzle.

It's like "Crash," but everyone's moony.

I guess it's nice seeing so many cute young couples (and one older one, but still pretty cute) making big declarations of love and encountering romantic surprises. Some of the couplings are more interesting than others, and some of the characters you wish would go away.

The Meet Cute between Bradley Cooper and Julia Roberts is one of the better ones. They're on a long plane flight, she falls asleep on his shoulder and they get to talking. She's an Army captain making a 28-hour round trip so she can spend a single day with someone special. He plays it coy but is impressed by her dedication.

Anne Hathaway and Topher Grace are a couple who've only been dating a couple of weeks when they have to face the daunting holiday that commands romance. She's got a rather kinky side job that might just send him for a loop.

"I'm from Muncie, Indiana," he explains. "The wildest thing I ever did was ... leave Muncie, Indiana."

Less intriguing is the sports newscaster (Jamie Foxx) forced to do man-on-the-street pap for Valentine's Day, when he wants to pursue the story of the NFL quarterback who has something big to announce. The quarterback's agent (Queen Latifah) is the boss of Hathaway's character, while his publicist (Jessica Biel) holds an anti-Valentine's Day party every year.

The movie starts with flower guy (Ashton Kutcher, who apparently actually has a career beyond Tweeting). He proposes to his sweetie (Jessica Alba), and he wants to tell the whole world about their engagement, while she advises keeping it quiet, which sorta hints where things are heading.

And so on. New love is found, old love is shaken, what was thought to be true love is shown to be not.

"Valentine's Day" is directed by feel-good king Garry Marshall ("Pretty Woman," "The Runaway Bride") from a screenplay by Katherine Fugate. It's smarmy but not cynical. What it mostly is is unnecessary -- sort of like a holiday reminding people to be nice to the one they love.

2 stars