Review: "Ma"

Screenwriting legend William Goldman said there are only three kinds of movies: those that are meant to be good and are, those that are meant to be good and aren’t, and those that were never meant to be any good.

I’d like to humbly suggest a fourth category: obviously trashy movies that are aware of their own trashiness and have fun with it while still not really being all that good.

“Ma” reminds me of lots of bits and pieces of other movies. “Misery,” with a seemingly normal, unappreciated middle-aged woman who’s secretly bonkers and played by an Oscar-caliber actress -- in this case, Octavia Spencer.

“Carrie,” about a teen girl traumatized by her sexual humiliation at the hands of her classmates, which is due for a hard comeuppance. The usual motley assembly of comely teens from every horror movie ever who just want to party.

Spencer is obviously having a lot of fun with this role, playing the kray-kray baddie in a low-budget scare flick. She fake-smiles her way through interactions, passing as normal while staring daggers when backs are turned. She’s not the most physically imposing cinematic killer, but she is good at lulling people in for a good stab in the back.

She plays Sue Ann, a timid teen who grew into a resentful woman. She has a miserable job as an assistant for the world’s nastiest veterinarian (Allison Janney). When a group of teens beg her to buy booze for them, she tuts and frets about nobody drinking and driving, and then relents.

A few winks later and Sue Ann is now hosting a never-ending party in the basement of her house out in the sticks, passing out shots and dancing the night away in an attempt to recapture some of her stolen youth. Insisting the young’uns call her “Ma,” she pokes through their social media and worms her way into their lives.

Diana Silvers plays Maggie, the new kid who has just moved to town from San Diego and immediately falls in with the cool gang. In this rural enclave, that means getting buzzed and hanging out at “the rock piles,” a pasture full of rubble that has been a party spot for decades.

Juliette Lewis plays her mom, Erica, who’s been through some rough days and is working as a cashier at the local casino in hopes of graduating up to dealer. She loves Maggie and gives her too much rope to hang herself with, making noises about “making good choices” but always too busy to check up.

McKaley Miller is Haley, the brazen girl who likes to impress everyone with her brazenness; Corey Fogelmanis is Andy, a sweet-faced boy who makes moony eyes at Maggie; Dante Brown is the funny, smart black kid; Gianni Paolo is Chaz, the headstrong jock.

Luke Evans turns up as Ben, Andy’s dad, though they never have a scene together so we’re just taking the filmmakers’ word for it. Missi Pyle plays his nasty, drinky girlfriend, who knew Erica back in the day.

Actually, it turns out all the adult character knew each other in high school, leading to gauzy flashback scenes with child actors who don’t resemble the grownups in the slightest. Suffice it to say, Sue Ann craved to be part of the in crowd, who just played her off for jokes.

Director Tate Taylor has made some good flicks, including “The Help” and “Get on Up;” screenwriter Scotty Landes is a TV guy doing his first feature film script. Tonally “Ma” is all over the map, spooky edging into scary and passing through comedy along the way. This creates a lot of awkward transition periods where we’re not sure if we’re supposed to be cowering or cackling.

Some stuff just plain doesn’t work, like a shy girl in a wheelchair (Tanyell Waivers) who is tied into the game very late in the going. Without giving too much away, I’ll just say that she and Sue Ann’s relationship deserved a whole movie of its own, or to be cut out of this one.

I can’t really recommend “Ma,” though I did on some level enjoy it. It would be incorrect to say this movie isn’t trying very hard; rather it’s laboring mightily at unworthy things.

Review: "Nerve"

Ever since we had personal computers, Hollywood has been making movies about kids getting in a pickle playing with them. Back to Matthew Broderick nearly setting off nuclear annihilation in 1983’s “War Games” up to last year’s “Unfriended,” about a half-dozen teenagers being stalked on social media, we learn that irresponsible teens and powerful electronic devices are not a good mix.

And here comes the latest cyber-thriller, “Nerve,” which sounds ludicrous until we realize all the technology that makes Pokémon Go possible could easily be repurposed this way, and already exists in our smartphones. It’s about teens accepting dares to do increasingly dangerous acts, with the rest watching as ghoulish witnesses, egging them on with money and instant fame.

Emma Roberts and Dave Franco -- who I’d like to point out are ages 25 and 31, respectively -- play the main couple, thrown together by the “watchers” of Nerve. It’s an open-sourced game with no one controlling it but deadly democracy. The watchers pay money for a voyeuristic thrill, which is then given to the players as a reward. Refusing a dare, or failing to complete it, means you’re out of the game and lose all the dough you’ve won.

Roberts is Vee, a bookish sort who sticks to photography and pining for boys she’s too shy to even talk to her. Her best friend, Sydney (Emily Meade), is already a star in Nerve. She’s after the thrill more than the money, since she’s a trust-fund baby; early on she gets suspended from school for showing her tushie during the cheerleading performance.

Too afraid to even tell her mom (a harried Juliette Lewis) that she’d prefer to go to an art school in California than local commuter college, Vee takes up the challenge to play Nerve. Her first dare is simple enough: kiss a stranger. She selects Ian (Franco) because he’s sitting in a diner reading one of her favorite books. But it turns out he’s a player too, and soon the watchers have upvoted them into a pair.

There’s a fun sequence where they’re directed to Bergdorf’s in Manhattan to try on ridiculously expensive clothes, then their own clothes are swiped (the dare of another player) and they are directed to leave the store immediately.

Vee may like breaking out of her wallflower mode, but crosses the line at shoplifting a $4,000 dress. Fortunately, she notices a loophole that the dare doesn’t say anything about keeping the clothes. So they strip to their skivvies and make a run for it; it’s an endearingly silly and flirty moment. Roberts and Franco are over-the-top cuties.

But things get much darker quickly -- like, riding Ian’s motorcycle at 60 m.p.h. while he’s blindfolded -- and ratchets up from there to deadly levels. Plus, other players up the ante, including Ty (Colson Baker), a punk type who looks like he walked off the set of the latest “Mad Max” movie.

Sydney, meanwhile, is nonplussed about the competition from her sidekick. And Tommy (Miles Heizer), a nerdy sweetheart who’s badly concealing a crush on Vee, attempts a late rescue with his hacker buddies to crash the game.

Directed by Henry Roost and Ariel Schulman from a screenplay by Jessica Sharzer, based upon a novel by Jeanne Ryan, “Nerve” is decent disposable entertainment that really wants to be a cautionary tale.

Review: "August: Osage County"

Based on the Pulitzer Prize-winning play by Tracy Letts, who also penned the screenplay, “August: Osage County” is the sort of movie that shows its stage roots.

The action -- and by “action,” I mean people talking -- takes place in more or less a single location. There’s a certain showiness to the dialogue and performances, as if broadcasting to the back of the room. And it relies on two or three big, booming plot twists to carry the narrative, which by itself is rather meager.

This is the sort of movie that has close on to a dozen important characters, and every single one of them has at least one look-at-me moment where they get to have a big speech to deliver or an emotional crisis in which to wallow. For the minor characters, it practically feels like a checklist: “OK, here’s the timid son’s time in the spotlight.” The major players enjoy several of these.

All this isn’t to say “August” isn’t a thoroughly enjoyable cinematic experience. It is. It just doesn’t hold a grand sense of newness about itself. It feels like latter-day William Faulkner with a wink.

The film skates by on some pretty tremendous performances by some pretty amazing actors, starting with Meryl Streep. As family matriarch Violet Weston, Streep is like an Oklahoma tornado sweeping through her own house, hurling things this way and that. Suffering from mouth cancer and constantly addled by the many drugs she takes to address it, Violet feels no compunction about saying perfectly horrible things to anyone and everyone around here.

She saves her most venomous bile for her own clan. As the story opens her husband, Beverly (Sam Shepard), a noted poet, has died under mysterious circumstances, probably a suicide. As the family gathers to lay him to rest, it’s also an occasion to hash any number of squabbles, secrets and recriminations.

Oldest daughter Barbara (Julia Roberts) loathes the vindictive creature her mother has become, and fears she’s treading down the same path. Separated from her husband (Ewan McGregor) and estranged from their teen daughter (Abigail Breslin), she’s not spoiling for a fight with Violet, but she’s not about to back down from one, either.

The other two daughters are Karen (Juliette Lewis) and Ivy (Julianne Nicholson), both sporting man problems. Karen, brittle and self-deluded, has shown up with her latest beau, a glib sports car-driving business type (Dermot Mulroney). Ivy, the lonely child who stuck around to care for their parents, is resentful and reticent to share news about a new love.

I really enjoyed Margo Martindale as Violet’s sister, Mattie Fae, who has fewer sharp edges but hides a steely, mean streak underneath, and Chris Cooper as her husband Charles, a man with a tendency to smile through the pain. Their son Little Charles is played by Benedict Cumberbatch, a grown man with a childlike disposition and challenges.

Director John Wells is a TV guy whose only previous stint helming a feature film, “The Company Men,” was seen and appreciated by myself, and few others. He more or less hangs back and lets the actors rip, shrewing and harping and haranguing.

“August: Osage County” is a perfectly serviceable drama that’s worth a ticket, if only to see Meryl Streep’s latest masterwork. Even if she’s not always in the best movies, it’s hard to debate her status as the best film actor working today. She racks up Oscar nominations with astonishing regularity, and there’s a reason why.

Review: "Due Date"

Let's not endure any illusions that "Due Date" is anything other than a raunchy updating of 1987's "Planes, Trains and Automobiles" from the director and breakout star of "The Hangover."

Robert Downey Jr. and Zach Galifianakis play the Steve Martin and John Candy roles as, respectively, an uptight professional type trying to get home to his family and a wacky interloper who screws up his plans, steering him straight into road trip comedy territory.

Over time, the jerk realizes he's a jerk, and comes to accept his dim-witted, accident-prone traveling companion as his new best friend, embracing the chaos that's been introduced into his stale little life.

Todd Phillips, who directed and co-wrote the script (along with three other guys I don't feel like mentioning) adroitly sets up the big laughs, of which there are plenty. He really knows how to use Galifianakis' strange, beetle-brow peevish charm to comic effect.

My big problem with the movie is that I just didn't buy these two guys as real people. Since I don't believe them as legitimate characters who could exist in the real world, I didn't feel anything for them when the movie turns mushy and serious.

It's pretty obvious that Ethan Tremblay (Galifianakis) is a movie-made edifice. He's a wannabe actor heading to Hollywood who's colossally clueless about acting, and movies, and basic human interaction.

When asked if he knows who Shakespeare is, he insists that he's a pirate, and that it's pronounced "Shakesbeard." After mimicking Marlon Brando's opening speech in "The Godfather" (badly and inaccurately), Ethan demurs when asked if he wrote that, saying "the Mafia did."

"'Two and a Half Men' is the reason I wanted to become an actor," Ethan says without guile. "Especially the second season."

Ethan carries around a tiny pug dog named Sonny, has a prissy little walk like he's trying to balance a fresh egg between his thighs, and is toting his father's ashes cross-country.

Such a bizarre assortment of ticks strains credulity, but even the supposed straight man seems implausible.

As played by Downey, Peter Highman is an architect who's built a cathedral of ironic detachment around himself. When Ethan (or anyone) behaves in a way Peter thinks infringes on his sensibilities, his reaction is to do a dead-pan patter and project exasperation that such a thing could possibly happen to him.

He doesn't actually roll his eyes, but you can feel him doing it internally.

The set-up is that Ethan gets both of them thrown off the plane from Atlanta to Los Angeles by repeatedly mentioning the words "bomb" and "terrorist," and then Peter's insufferable attitude toward the flight crew does the rest. Having lost his ID, Peter can't even rent a car to get back home in time for the birth of his first child.

You can guess the rest yourself. Forced to share a car with Ethan, they proceed to get into one scrape after another, with Peter growing progressively vexed and Ethan perpetually oblivious to it.

The script borrows from "Planes, Trains" again and again. There's a bit where Ethan falls asleep at the wheel, and another where Peter looks over at Ethan and hallucinates him into a demonic figure. All that's missing is the "two pillows" joke.

I don't mind a clever tip of the hat to another, better movie. But "Due Date" steals so often and so shamelessly that, despite an abundance of genuinely funny moments, we're happy when the ride ends.

2.5 stars out of four

Review: "Conviction"

"Conviction" is a well-meaning drama that contains absolutely zero surprises. Hilary Swank gives another strong, stubborn performance as a working-class woman who essentially put her life on hold for two decades to get her brother sprung from prison on a wrongful murder conviction. We know even before the arrest that he will eventually be let go, because why else would they bother making this movie, based on a true story?

Tony Goldwyn directs in a resolute, straightforward manner that never allows any doubts about who the good and bad guys are. Melissa Leo, playing the ambitious cop who made the arrest, is denied even a sliver of humanity. There's one scene, years later, of Betty Anne Waters (Swank) confronting the cop, and she makes some weak excuse about being the only woman on the force in the early 1980s.

Tales of this officer's misdeeds continue, but she's never seen or heard from again. If she's supposed to represent the villain of the piece, then screenwriter Pamela Gray does a poor job of setting her up as a worthy antagonist.

The story begins with the arrest of Betty Anne's brother, Kenny (Sam Rockwell). Because he has a criminal record, the local police harass him over every misdeed committed in the community. But officer Nancy Taylor (Leo) seems to hold a special grudge against him. Kenny is depicted as a rebellious spirit who loves his sister fiercely, but just can't back down when he's pushed.

After it's clear no lawyer will touch the case, Betty Anne resolves to go to law school herself so she can represent her brother. Lacking even a high school diploma, this process takes years and years, during which time her marriage (Loren Dean plays the husband) dissolves and her relationship with her two sons grows strained.

What makes it a great role for Swank is that Betty Anne just won't take no for answer and won't give up -- even when Kenny does. Rockwell gives a genuine performance of measured power, as Kenny's will is slowly sapped out of him by the passing of time and the fading of hope. Rockwell makes us feel the years.

Minnie Driver plays a fellow older law student who offers her friendship and assistance, and Peter Gallagher plays Barry Scheck, the head of the Innocence Project, which provides a hand in getting Kenny freed. Juliette Lewis has a small, (unintentionally?) comic turn as one of the witnesses who helped seal Kenny's fate, and now provides a key break in the case.

As a legal drama, "Conviction" doesn't really have much plot to churn over. Betty Anne isn't portrayed as some kind of blue-collar Eliza Doolittle who suddenly transforms into a legal savant. Their case is built entirely around the slim hope of finding some blood evidence that wasn't destroyed so they can have it DNA tested.

I don't know how many scenes there are of Betty Anne and her cohorts phoning, pleading, looking through storage rooms in search of the elusive DNA. Of course, we know it will eventually turn up. Once it's found, though -- a little more than an hour into the film's run time -- the story keeps finding ways to delay the inevitable, and milk the dramaturgy.

As is to be expected in a Hollywood movie, certain liberties have been taken. The film portrays the time between which the DNA evidence turned up until Kenny's release as more than a year, when in fact it was something like two weeks.

Strangely, in the inevitable title cards right before the end credits that explain what happened to the various people, it doesn't mention that Kenny Waters died in a fall a few months after getting out of prison.

As a film that got a lot of early mentions for Oscar contention, there's no denying "Conviction" registers as a disappointment. Swank and Rockwell still give fine performances, almost enough to recommend the movie on that basis alone. The stubbornness of Betty Anne, though, is mirrored in the script's tunnel-vision approach to storytelling, which doesn't leave much room for nuance or complexity.

2 stars out of four

Video review: "Whip It"

When you say "roller derby," a lot of people bring to mind an image of a cheesy sport on roller skates that briefly captured the public imagination back in the 1970s. It's been reborn in recent years as a sport for wheeled women who want to showcase their bruises and bad attitudes.

"Whip It" wants to be the anthem for a generation of derby girls, and it serves that role, if fitfully. Ellen Page plays Bliss, a small-town teen who gets caught up in the derby craze, much to the consternation of her mother, who thinks beauty pageants are more ladylike.

But after going to a local match, Bliss is enamored by the tough, fun-loving girls of the Hurl Scouts -- even if they're the league bottom-feeders. Drew Barrymore, who also directed the film, has a small role, and other players include Eve, Kristen Wiig and Juliette Lewis.

Soon Bliss -- renamed Babe Ruthless -- is winging her way around the oval, trading elbows and having the time of her life.

If the movie has a downside, it's the downbeat second act, in which Bliss struggles in romance with an older boy in a band, and squabbles with her family and best friend. It all seems like a cynical ploy whose only reason for existing is to set up the big match at the end, in which Bliss' uptight parents learn to embrace their daughters' newfound passion.

But there's no denying the brash energy of this movie, which taps into a more modern, punk-rock take on feminism.

Video extras for "Whip It" are rather miserly, although the Blu-ray has a little more to offer than the DVD.

Both include nine deleted/extended scenes totaling about 16 minutes worth of material. Only the alternate opening scene, in which Bliss and friend dumpster-dive from the roof of the tacky little restaurant where they work, is worthwhile.

The Blu-ray also has "Writer's Draft" feature with Cross, plus a digital copy of the film.
What a shame -- a commentary track by Page, Barrymore and Wiig could've been a grrrl-power hoot.

Movie: 2.5 stars
Extras: 1.5 stars

Review: "Whip It"

I know some roller derby chicks, and can testify to the girl-power jolt that fuels the resurgence of the cheesy 1970s sport. In its modern punk incarnation of ripped fishnet stockings, mascara applied with a trowel and tattooed gals who celebrate a really gnarly bruise, it's all about elbowing aside all of society's rigid hang-ups about what nice girls do -- and don't do.

That's what I was hoping for from "Whip It," the new roller derby flick starring Ellen Page from "Juno" and marking the directorial debut of Drew Barrymore (who also has a small role). There's some of that brash energy, and the action in the rink is enjoyably rough-and-tumble.

But something about the movie, which was written by Shauna Cross and based on her book "Derby Girl," left me wanting more.

Perhaps it's the fact that roller derby phenom is stitched onto the back of the overly familiar coming-of-age teen movie, with all the predictable tropes.

Page plays Bliss, who enters beauty pageants to satisfy her mother's (Marcia Gay Harden) Doris Day concept of womanhood, but secretly favors combat boots. Daniel Stern breathes a little life into the dad role, but it's the same-old portrayal of a decent but emotionally absent father figure.

When Bliss catches sight of some derby girls, she determines to travel from her sleepy town of Bodeen, Texas, to nearby Austin to catch the show. She's encouraged to try out for the team, and despite her tiny size she turns out to be fast and nimble on her skates.

One of the most fun things about roller derby is the comically violent or risqué skate names the women gives themselves and their teams. The Hurl Scouts (told you) includes Maggie Mayhem (Kristen Wiig), Rosa Sparks (Eve) and Smashley Simpson (Barrymore). Bliss herself is rechristened Babe Ruthless.

(Some real-life players in my backyard include Jane Ire, Trauma-lina and Smackie Onassis.)

The heavies are the Holy Rollers, led by Iron Maven (Juliette Lewis, in full sneer mode). The Hurl Scouts are the league doormats, but when the girls add Ruthless to the roster and start listening to their hapless coach, they move up the ladder.

About two-thirds of the way through, the movie enters a dark and angsty phase that feels obligatory -- it subtracts, rather than adds anything to the film.

Bliss/Ruthless has hooked up with a hipster guitar player (Landon Pigg) who disappears on tour, her parents find out the high-schooler has been lying about all the late nights, and her best friend Pash (Alia Shawkat, one to watch) becomes P.O.'d at her for no good reason.

It's all meant to set up the triumphant showdown on the rink, with mom and dad learning to bask in their daughter's crazy new obsession.

I feel like I've spent this whole review dumping on "Whip It," when actually I quite liked it. It's fun, it celebrates rebellion -- at least the kind unlikely to result in anything worse than a sprained ankle or a busted nose -- and it's all about girls realizing their own power.

Floor burns beat a tiara any day.

3 stars