Film review: "The Overnight"

"The Overnight" is more an exercise in filmmaking than a fully realized feature, essentially a promising sketch stretched out to 79 minutes. But it's well-done and quite engaging, alternating between goofiness and thoughtfulness with barely any seams showing between the transitions.

It stars Adam Scott, who you probably know from TV's "Parks and Recreations," and Taylor Schilling, who you probably know from "Orange is the New Black," a streaming television show from Netflix. They play Alex and Emily, respectively, a married couple who have just moved to Los Angeles from somewhere cold and boring, and get invited over by another family they've just met for a playdate between their boys.

Alex is a stay-at-home dad and Emily the breadwinner; she's outgoing and he struggles to engage with his new environment. “Am I supposed to just ask other grown-up persons if they want to be friends?” he implores.

The other marrieds, Kurt (Jason Schwartzman) and Charlotte (Judith Godréche), are blend of every cliché about over-involved southern California types. They have lots of money but don't appear to work much; he paints and she acts, both itinerantly; they've got a New Age-y vibe and burn incense to get their kid to sleep.

But they seem amiable enough -- too amiable, actually.

After the boys are slumbering, the grownups break out the liquor and the weed, things get pretty loose, then things get a little weird. Then a lot weird. Sexual hang-ups get exposed, buried desires are unearthed, and we're all in for a bumpy night.

Writer/director Patrick Brice, in his second feature film, shows keen insight for the suffocating life of married people with small kids -- the daily squabbles about unimportant stuff, the growing resentments that get stuffed under the furniture for the sake of familial bliss, or at least the appearance of it.

(In one naughty true-to-life bit, the opening scene has Emily/Alex trying to squeeze in a little amorous time in the morning before their son wakes up. "There's still time for me!" Alex insists, urgently, while trying to complete the task at hand, urgently.)

"The Overnight" is a bit sitcom-y and hammy at times, especially the figure of Kurt, whom Schwartzman plays with a sort of graceful ease in his sliminess. He's a petty, selfish man who's convinced the world -- and himself -- that he's actually a great guy, and spends his life playing that role.

Still, it's a funny, smart and randy flick. And I do mean randy. There's quite a bit of nudity, mostly male. If you're a big Adam Scott fan, let's just say that prosthetics played a role in portraying his character's, uh, deficiencies. Ditto for Schwartzman, but in reverse.

Review: "Saving Mr. Banks"

Hollywood loves to tell stories about itself, and here’s a movie from Walt Disney Pictures about the making of one of its own iconic films, and starring Walt himself. Or rather, co-starring Tom Hanks as Walt Disney, a supporting role for the main character of author P.L. Travers, played by Emma Thompson.

The tale is quite simple: the irascible, guarded Mrs. Travers – don’t you dare call her Miss – doesn’t want to sell her novel “Mary Poppins” to Disney and see it turned into a piece of puffy fantasy. But she needs the money, and agrees to come out to California to collaborate with the film’s production team, while Old Walt works his twinkly charm to convince her to sign over the book rights.

The movie is essentially one long dance between Travers and Disney, with the two struggling mightily to understand a person so extravagantly different from themselves. Of course, we know how it all turned out.

(Or, at least we think we do. The film ends with the pair more or less making their peace over their very different conceptions for “Mary Poppins,” but in fact she so reviled what Disney did with her work that she forbade any further adaptations of her books.)

I really wanted to like this movie, but it held so very few surprises for me. We know early on from the flashbacks to Travers’ Australian childhood that she adored her sweet, alcoholic wastrel father (Colin Farrell) and used him as the basis for the father figure, Mr. Banks, in “Mary Poppins.” So it’s all a matter of Disney learning enough about her to puzzle out the truth.

The scene where he finally confronts her about her fears is splendidly acted by Hanks and Thompson, but flat as dry toast. It’s never a good thing when the audience is three steps ahead of the characters.

The early section is mostly about Travers playing the fish-out-of-water role, peevishly negotiating the Hollywood scene. She’s disruptive and contemptuous, treating everyone she meets quite shabbily, especially Disney’s underlings. She even dismisses the songs written for the film by the legendary Sherman Brothers (B.J. Novak and Jason Schwartzman), and regards some animated critters as vile interlopers.

Bradley Whitford turns up as screenwriter Don DaGradi, Kathy Baker is a tough studio exec and Rachel Griffiths plays Travers’ aunt. Paul Giamatti brightens things up as her appointed chauffeur, an obstinately cheerful man who serves absolutely no purpose in the story, but we just like having him around.

Since we’re discussing a film about the creative process, let me tell you a little bit about mine. I prefer to see one movie at a time, write the review within the next 24 hours, more or less be absorbed in that experience, and move on to the next. The crush of late-year screenings made that impossible, and quite frankly, I’m having trouble recalling “Saving Mr. Banks” very well. It’s only been a few days since I’ve seen it, but mentally it’s already slipping through my fingers like sand.

The best movies, and sometimes even the worst, stick with you because they make a strong impression that lingers. There are films I’ve seen only a single time many years ago that I can evoke with great clarity, both the movie itself and how I reacted to it at the time.

I’m afraid “Saving Mr. Banks” is already floating away like Poppins herself, she to her next nanny job and me the next movie review. I just wish there had been a spoonful of magic while we journeyed together.

Video review: "Moonrise Kingdom"

In 1965 on the remote New England island of New Penzanze, 12-year-old misfits Sam Shakusky and Suzy Bishop have run away together. Sam (Jared Gilman) and Suzy (Kara Hayward) both feel alienated in their homes -- Sam is an orphan who more or less lives at the Khaki Scouts camp, while Suzy barely gets any attention in the ramshackle house where her distracted parents (Bill Murray and Frances McDormand) oversee a triplet of overactive boys.

Their escape sets the cloistered island folk into a tizzy, as they search desperately for the pair before they ... what, exactly? It's a tiny island, so they don't really have anywhere to go. Their journey is about running away rather than going somewhere.

The latest from filmmaker Wes Anderson ("The Royal Tenenbaums") is familiar to any who's watched his twee little whimsical movies -- disaffected characters speaking in deliberately flat cadences, punctuated by quaint snippets of obscure music, and highly stylized sets and costumes that make the whole thing feel like the inside of a precocious middle schooler's diorama.

"Moonrise" doesn't add anything new to the mix, so the result is a stale and turgid addition to the Anderson menagerie. After a career of making very personalized movies, this registers as an unattractive wallow in self-indulgence.

Bonus features, which are identical for Blu-ray and DVD editions, are rather modest. There's a making-of documentary, a tour of the fictional island, and a set tour hosted by Bill Murray.

Movie: 1.5 stars out of four
Extras: 2 stars

Review: "Moonrise Kingdom"

I go back and forth on Wes Anderson. He's a very specific kind of filmmaker, to the point that there is now a recognizable "Wes Anderson style" that is much derided but little imitated. (Do a YouTube search to view some fun-poking examples.)

From the disaffected characters who speak their dialogue in deliberately flat cadences, to the oddball time-warping fashion sense, to the now-obligatory reliance on obscure pieces of music to punctuate and comment on the proceedings, Anderson's films are stylistic carbon copies of each other, merely swapping out storylines and characters (though many of the same actors reappear time and again).

The problem with that is there's a dread sense of sameness to his movies. It's like going to a bunch of different restaurants and ordering the exact same meal. There will be some variations in flavor, texture and certainly in quality, but you walk in knowing what you're going to get.

I liked "Rushmore," and liked "The Royal Tenenbaums" a lot, but "The Life Aquatic with Steve Zissou" was so wretchedly unwatchable I didn't even bother seeing his next one, "The Darjeeling Limited."

Personally, I thought the best marriage of Anderson's aesthetic with the material was the stop-motion animation gem, "Fantastic Mr. Fox." Perhaps it was just because using fake furry critters instead of humans represented the first distinct break from his previous body of work, and that made it seem fresh.
His newest, "Moonrise Kingdom," is a return to the rut.

The sole variation here is that the spotlight is on children, while the adult characters populate the background. It's 1965 and on the isolated New Penzanze Island off of New England, 12-year-olds Sam Shakusky and Suzy Bishop decide to run away together. Of course since it's an island, they don't really have anywhere to go, but it's more a journey about rejecting where they come from than anywhere they're heading.

Sam is an orphan living with foster parents, but actually spends most of his time at Camp Ivanhoe, a summer camp for the Khaki Scouts of North America. The man/boy commander, Scout Master Randy Ward (Edward Norton), acknowledges that Sam was the least popular scout, but is still chagrined by the resignation letter he leaves behind.

Suzy has three younger brothers, and lives in a rambling multi-story house called Summer's End with her three younger brothers and parents (Frances McDormand and Bill Murray), who are both distracted lawyers. Suzy wears neon-colored eye shadow (apparently impervious to the elements) and loves to read books where girls go on adventures in fantasy lands or on alien planets.

After meeting at a church play a year earlier, they've been corresponding by mail and planning their escape, which throws the entire island into a state. Captain Sharp (Bruce Willis), whose position appears to be nautical but represents the only semblance of police power, is brought in to lead the search with the help of the Khakis. Hovering around the edges of the story is Tilda Swinton as Social Services -- that's how she refers to herself, no name -- threatening to whisk Sam off to an orphanage.

Sam and Suzy are played by newcomers Jared Gilman and Kara Hayward, respectively. They both seem like engaging performers, but it's hard to judge their true talent since Anderson (who co-wrote the screenplay with Roman Coppola) requires them to say all their lines in unemotive declarations. They always sound like they're announcing themselves rather than talking to each other.

(Both are also rather mush-mouthed, and I often struggled to understand what they were saying. I suppose you could make the argument this makes them sound more like authentic kids, but verisimilitude has never been Anderson's bag.)

My biggest problem with "Moonrise Kingdom" is that it's a coming-of-age story in which both the children already behave like cynical, melancholic adults. If they're this jaded and disconnected at 12, how are they going to stand each other at 42?

Consider this exchange of dialogue after a violent encounter with the other scouts, and the Khaki mascot pooch has been slain with an arrow:

Sam: They got him right through the neck.
Suzy: Was he a good dog?
Sam: (pregnant pause) Who's to say?

That sure doesn't sound like any kid I knew. For that matter, why does Sam wear a coonskin hat, despite it being the scorching finale of summer? How come he smokes a pipe? Why is Suzy obsessed with Benjamin Britten's "The Young Person's Guide to the Orchestra," in which different pieces of symphonic music are layered upon each other one by one as a learning exercise?

I think these elements exist in the movie simply because Anderson finds them delightfully quirky, and includes them simply for the sheer juxtaposition of eclectic bits ‘n’ pieces. He's like a hipster standing at the wardrobe of pop culture, plucking out things he likes and trying them on.

Often the ensemble is a genuinely innovative collage of colors and patterns, a bold new way of looking at old things. Sometimes, as with "Moonrise Kingdom," the result is so blastedly twee and self-satisfied that we just want to sigh, pat the movie on the head and tell it to run along.

1.5 stars out of four

Review: "Fantastic Mr. Fox"

Imagine if a group of ironic hipster movie-makers decided to do their own version of a beloved children's book, and in stop-motion animation to boot. It retained the basic story, but layered in a lot of dry humor that appealed to adults -- basically, a kiddie tale tailored for grown-ups.

You can stop imagining, because "Fantastic Mr. Fox" is that movie.

Director/co-writer Wes Anderson brings along many of the actors and all of the sensibilities of "The Royal Tenenbaums" and "Rushmore" to this adaptation of Roald Dahl's book about a fox who can't give up his chicken-hunting ways.

Dahl has been a virtual one-man fount for children's flicks: "Willy Wonka & The Chocolate Factory," "James and the Giant Peach," "Matilda" and more. Meanwhile, Anderson's movies are marked by their detached quality and wry characters, punctuated by quirky/folksy music.

The combination may not seem obvious, but they mesh together deliciously. "Fox" is one of the funniest movies of the year, though in a deadpan sort of way.

Mr. Fox is voiced by George Clooney, doing his debonair rogue thing. After nearly being captured by a farmer while stealing chickens, his wife (Meryl Streep) makes him promise to give up his life of danger.

Flash forward a few years, and they're a happily domesticated couple with a son, Ash (Jason Schwartzman, whose vocal performance is top-notch). Ash is undersized and resentful, a state that only grows when his athletic cousin Kristofferson (Eric Chase Anderson) comes to stay with them.

Meanwhile, Mr. Fox decides that his life as a newspaper columnist is too dull, so he enlists his opossum friend Kylie (Wally Wolodarsky) to take aim at the mega-farms of Boggus, Bunce and Bean -- the three meanest farmers around. He draws up elaborate master plans to make off with their chickens, ducks and apple cider.

Unfortunately, the farmers hatch their revenge by lying in ambush outside Fox's tree home, shooting his tail off in the process. They're led by the lean Mr. Bean, scarily voiced by Michael Gambon. They even bring in big earth-movers to uproot the whole hill, with throws Badger (Bill Murray) and a lot of the other members of the animal community out of their homes, too.

One of the most delightful things about the movie is how the animals outwardly behave liked civilized humans -- Mr. Fox wears a suit, Mrs. Fox is a watercolorist, Badger is a lawyer, etc. But Mr. Fox believes they're really wild animals inside, and have wandered too far from their feral instincts.

Still, it's fun to watch Fox and Bean square off as equal adversaries, rather than hunter/prey -- they even exchange threatening letters. Fox also has an old nemesis, Rat (Willem Dafoe), who wields a switchblade and has been hired by Bean.

I really enjoyed Whack Bat, the game the animal children play at school, which is like a Rube Goldberg version of cricket.

Oh, and it's witty how instead of swearing, the critters just substitute the word "cuss" wherever the naughty one would be: "What the cuss?!?"

The stop-motion animation is amazing, hitting that sweet spot between reality and stylized embellishments.

The title of "Fantastic Mr. Fox" comes from Fox's neurotic need to be the best at whatever he does so others to like him. Based on his movie -- which should give "Up" a run for the Academy Award for best animated film -- he has no need for worry.

3.5 stars out of four