Showing posts with label CHRISTINA HENDRICKS. Show all posts
Showing posts with label CHRISTINA HENDRICKS. Show all posts

Friday, February 17, 2017

DODGE BRAWL

Opening this week:

 
Fist FightCharlie Day is Andy Campbell, a milquetoast English teacher at an underfunded, underachieving, metal-detector-enclosed high school. Ice Cube is Strickland, a tough history teacher. It’s the last day of school, the odious, arrogant students are playing outrageous pranks, and the teachers are re-interviewing for their jobs in the face of layoffs. Things are tense.

Andy witnesses Strickland violently lose it front of his class, and faced with the prospect of losing his job if he doesn’t, he “rats out” Strickland to the principal. On the familiar grounds that “snitches get stitches,” Strickland then challenges Andy to the title combat after school.

The rest of this broad, crude, foul-mouthed comedy, directed by Richie Keen from a script by Van Robichaux and Evan Susser, involves Andy frantically resorting to ever more dishonorable and humiliating tactics in an attempt to avoid this fight. In outline, the plot is very much like that of 1987’s Three O’Clock High, except featuring teachers instead of students. Ultimately, of course, in the grand tradition of movies, Andy and Strickland must face off—if they didn’t, the title would be a cheat.

It’s an indefensibly stupid, ill-conceived, mostly unfunny, often offensive movie. So of course, I feel compelled to defend it a little. A very, very little.

First of all, the actors are good. Day, a veteran nitwit from the Horrible Bosses movies and It’s Always Sunny in Philadelphia, fearlessly plays shamelessness. He isn’t the customary cinematic comical coward, like Bob Hope or Woody Allen, making his avoidance of peril into a self-deprecating dignity—he’s palpably willing to abase himself, and the effect is painful, verging at times on poignancy.

Tracy Morgan brings his querulous, imploring tones to the part of the perennially losing football coach, and he’s pretty funny. Jillian Bell is even funnier as a guidance counselor who seems desperately in need of guidance herself. Only Christina Hendricks, as a possibly psychotic French teacher, seems wasted, although I suppose no footage which features Christina Hendricks walking down the hallway in a form-fitting black dress can be considered a total waste.

Ice Cube is always effortlessly commanding, even in a role like this, which aside from being one-note is saddled with a major idiocy at its core. The moviemakers try to sell us on the idea that Strickland’s rage is because he’s fed up with the disrespect of students and the indifference of his colleagues, and that he’s insisting on going through with his challenge to Andy on the grounds that a fight between two teachers will somehow showcase the problems faced by those in their profession.

This is ludicrous, certainly, but it may point to the reason why, as terrible as Fist Fight is, the movie can’t be called dull. It draws a certain degree of dramatic potency from the near-impossible situation in which public school teachers in poorer districts find themselves—constant frustration if they care about their jobs and their students, soulless defeat if they give up. The dumb fight-between-teachers plot, even though it was probably the inspiration for the picture, is also a weight around its neck. It’s possible to see how, with the same cast and setting, something could have been made that was at least equally funny but genuinely trenchant.

Wednesday, November 23, 2016

UNDERCOVER CLAUS

Opening today:


Bad Santa 2Back in 2003, I was in the midst of what I regarded as a particularly un-merry holiday season. I saw Terry Zwigoff’s Bad Santa, and laughed so hard that I thought I might need medical attention. It wasn’t an especially well-made movie, but its childish upending of clichéd holiday wholesomeness essentially saved Christmas for me that year.

Billy Bob Thornton returns in this 13-years-belated sequel, again as Willie, a drunken, depressive, fetishistic safecracker who uses a Santa costume as his front. Here he’s pressed into service by his diminutive former accomplice Marcus (Tony Cox), donning the costume again to rob a fraudulent charity in Chicago. The mastermind—if that’s the word—behind the plot is Willie’s loathed mother Sunny (Kathy Bates).

Few would suggest that this episodic, clumsily-structured caper farce is crackerjack moviemaking. It relies on a ridiculously easy comedic strategy—set up saccharine Christmas imagery and music and blow raspberries at it.

So sure, Bad Santa 2 isn’t a great movie. But Billy Bob Thornton is a great movie star. I don’t just mean he’s a great actor, though he is; he also has the authoritative presence of a true star. Watching him here isn’t just watching a drawly guy spout vile obscenity and epithets—amusing enough for a while, but only for a while—it’s also getting a taste of the vast, defeated bleakness of outlook from which this invective arises.

His characterization carries a whisper of the tragic to it, and indeed this might take over and spoil the fun if it weren’t for Willie’s strange magnetism, sexual and otherwise. In the first movie he was irresistible to Lauren Graham; here his romantic—if that’s the word—interest is Christina Hendricks. So how sorry for him can we feel?

Besides, like the original, Bad Santa 2 is every bit as sentimental as any Christmas movie. We’re meant to see that the true source of Willie’s misery is that, at bottom, he’s a thoroughly decent-hearted fellow.

The journeyman director, Mark Waters, moves things along with reasonable efficiency. Bates is formidable as ever as Sunny. Cox, Octavia Spencer and Brett Kelly—as the oddball Thurman Merman—are amusing in reprised roles from the original. But Thornton is the real show. If, for whatever reason, you aren’t feeling as festive this year as tradition demands, Bad Santa 2 might help you vent some of your negativity. Just don’t take the kiddies.