The Nice Guys

First Hit:  A dark comedy with some very funny bits and a fair amount of violence.

There are definitely some laugh-out-loud moments in this film. The juxtaposition between the personalities of the main characters made it work.

Jackson Healy (Russell Crowe) a guy who uses his fists to set things right. He's hired by all sorts of people who want someone to leave them alone. He’s ruff, gruff and no-nonsense in his approach. He hits people and asks questions later.

On the other side of the coin we have Holland March (Ryan Gosling), a former police officer and currently a private detective who tries to take the easy way out most of the time. He gets is PI fees up-front and is not always fair to, or honest with, his clients.

He feels guilty because he lost his wife and house to a fire that he might have prevented had he been able to smell. March has taken to drinking most of the time and, although he has a great relationship with his young daughter Holly (Angourie Rice), he's not being a great example as a father.

Holly has become the strength of their home and most of the time she’s really taking care of him. Some of the funny bits are slapstick falls that March takes along with the physical and conversational interaction between Healy and March.

There are also fond remembrances of comics past, including Gosling’s version of Lou Costello’s attempts at calling for help with nothing coming out of his mouth because he’s in state of paralysis/shock because he finds himself lying next to a dead man. There are laugh out loud scenes (many at the big party) as well as a convoluted crime story they are attempting to resolve.

Crowe is perfect as the no-nonsense physical enforcer of right and wrong, according to him. Gosling was very strong as the confused, in mourning, and trying to find how to get of of his funk father. His ability to be both smart and not-smart in this character and make it work is wonderful. Rice was the star of the film. Her maturity while being able to be a young teenager with a conscious was stunning. We will see much more of her as she develops as an actress. There a number of other character actors in this film that were very strong including: Margaret Qualley (as Amelia), Beau Knapp (as Blueface) and Lance Valentine Butler (as Kid on Bike). Shane Black and Anthony Bagarozzi wrote an dynamically funny and engaging script. While Black’s direction was strong in bringing out the dynamics of the main three’s relationship.

Overall:  I enjoyed the story and the dark humor.

The Meddler

First Hit:  The film had funny bits and it was Susan Sarandon’s performance that held it together.

When the film opens, Marnie (Sarandon) has been a widow for over a year. Her husband left her with enough money that she doesn’t have to worry about any financial matters and she's not dealt with her husbands ashes yet. She's moved out to Los Angeles to be near her daughter Lori (Rose Byrne) who has just broken up with her boyfriend Jacob (Jason Ritter).

Lori is devastated by the breakup and therein-lies one of the downfalls of this film, we really don’t know why. And even in the short scenes those two have together, there are no clues.

Because we know nothing of their relationship, we  are expected to believe that the depressed malaise Lori carries around is valid. Unfortunately, I didn’t buy it. This could be the issue of the screenplay, director, or actor.

With her daughter being depressed, Marnie is ready, willing and able to meddle in her daughter's life. She calls Lori at least 15 times a day and leaves long meandering messages, tries to tell her daughter what to do with her life, and shows up at her house unannounced. She smothers her daughter and appears clueless that she is acting this way.

When Lori heads to New York for work, Marnie suggests going with her. Lori says no, so Marnie starts to meddle in Lori’s friends lives. The difference is that they like it, although some of the attraction is that she has money and seems willing to spend it on them, including a wedding for a lesbian couple.

She also transports her Apple Genius Bar helper Freddy/Fredo (Jerrod Carmichael) to his school classes. All the things she does are for other people, and it's clear she’s not facing her own deep sorrow. She happens to meet Zipper (J.K. Simmons) who is a retired police officer and his accepting kind nature helps her begin to see a next step, which means moving along with her life.

Sarandon is very strong and effective as the meddling Marnie. Sarandon gives Marnie a strength of character and disarming charm that works well in this film. Byrne is OK, however I never bought her devastation from breaking up with Jacob. It seemed more like she was acting as a character versus playing and embodying the situational circumstance of the character. Carmichael was very good as the Apple Genius Bar guy who wants to improve his life. Simmons seemed to channel his best Sam Elliot with the mustache, deep voice and calm demeanor. Not that it was bad, but it just seemed like Elliot could have been substituted with little difference. Lorene Scafaria wrote and directed this film and it would seem she has had some experience with a “meddler” in her own life.

Overall:  Despite some of the film's faults, it was entertaining and at times very funny.

Mother's Day

First Hit:  Schmaltzy in so many ways, and yet I was touched by the four major mother’s day stories.

The stories are:  A divorced mother Jennifer Aniston (as Sandy) dealing with her husband’s new young wife Tina (Shay Mitchell) and he children’s interaction with the new step-mom.

Britt Robertson and Julia Roberts (as Kristin and Miranda respectively) who represent an adoptive child finding and reconciling with her mother.

Jason Sudeikis (as Bradley), whose wife was killed while serving her country, raising two girls alone and how will he treat this emotive day.

Lastly Kate Hudson and Sarah Clarke (as Jesse and Gabi respectively) as sisters who have marriages (one sister marries a foreigner and the other is in a gay marriage) that their parents reject.

As with most Garry Marshall films, the film has multiple interrelated stories and they are not hard hitting. Even though they aren't amazingly dynamic or intellectually challenging, the stories touch on themes the general population knows about and has experienced in some way.

Marshall makes it easy for the audience to laugh about these situations, which really have much deeper roots and societal impact.

Aniston is really good. I loved when she was sitting in her car while in the grocery store parking yelling to herself about her situation. As the mother who is now dealing with a rival, she’s tells this story well. Mitchell is good as the new step-mom. Robertson is very good as the young mother being hesitant to marry her child’s father because of the uncertainty she has from not ever meeting her biological mom. Roberts’ smile makes her role as TV sales spokeswoman work well. When she meets her grandchild for the first time, the emotion welling up in her is perfect. Sudeikis is strong and funny as the dad learning how to be the sole support for his two smart wonderful daughters. Hudson and Clarke are great as sisters hiding their lives from their parents. The screenplay, although its grit level is softball in nature, was written by Tom Hines, Anya Kochoff Romano, and Matt Walker. Garry Marshall directed this with his usual easy listening manner, which was entertaining, included funny bits, and there were a couple of tears due to my own life experiences.

Overall:  Although it’s a light softball type film, there are deeper roots Marshall is letting the audience ponder.

Keanu

First Hit:  Oddly funny, slightly creative and occasionally violent film that kept my attention while the kitten stole the show.

There is a fair amount of violence in this film as telegraphed in one of the very early scenes when the Allentown Boys, Oil and Smoke Dresden (Jordan Peele and Keegan-Michael Key respectively), wipe out a drug cartel then take their money and Keanu (the kitten).

Keanu gets away and shows up at Rell Williams’ (Peele again) apartment. The kitten brings hope and joy to Williams who has just lost another girlfriend. His closest friend Clarence Goobril (Key again) is a very upbeat guy and is happy for Williams because of the kitten.

When Keanu is stolen by Cheddar (Method Man) the head of another drug gang, he steps up and combines forces with his friend to find and get the kitten back. This set up takes them out of their normal behavior and has them trying to be tough, street smart, and with killer reputations to infiltrate Cheddar’s drug HQ, which is in a strip club.

Pretending to be the Allentown Boys they gain access to Cheddar's gang and the task to get Keanu back becomes their focus. It is the prize that makes this film work.

Peele is funny both as the pot smoking depressed guy that finds a reason to take chances and the tough hombre willing to kill to get his cat. Key is even more interestingly funny as a very straight guy who also has some soul and smarts. Man is OK as the head of a small cartel. Tiffany Haddish is wonderful as Hi-C an undercover cop and part of Cheddar’s gang. Darrell Brit-Gibson, Jason Mitchell, and Jamar Malachi Neighbors are wonderful as Cheddars gang members who come under the spell of Goobril when listening to George Michael music. Peele and Alex Rubens wrote this odd, yet funny script. Peter Atencio did a great job of directing this odd script and the effective shots of the kitten being a kitten were fabulous.

Overall:  Although there were times I wanted the film to move to the next scene, it did provide fun entertainment.

Demolition

First Hit:  There were strong and weak aspects to this film, however I liked the concept of tearing things apart so that one can rebuild one's life.

Pema Chodron, an American Tibetan Buddhist, wrote a book called “When Things Fall Apart.”

The beginning of this film reminded me of this book. Sometimes when things in our life fall apart (internally or externally), it can be a calling to deconstruct one’s life so that it can be re-built with more mindfulness and understanding.

Now this might sound too philosophical when writing about a film where the main character loses his wife in an auto accident and due to a malfunctioning vending machine, he decides to look at his life.

Here Davis (Jake Gyllenhaal) and Julia (Heather Lind) are driving and get into an accident. She dies, he lives, and as he begins to view his life, he realizes that he didn’t really know his wife or his life. To find out more he begins by tearing his physical possessions apart. It starts with his refrigerator, then computer, then his house. These are funny and cathartic scenes.

Opening to viewing what he feels inside, two outside influences push him along; his father-in-law and boss Phil (Chris Cooper) and Karen (Naomi Watts) the vending machine customer service representative. Additionally, she has a son, Chris (Judah Lewis), who is struggling being a teenager and together, Davis and the boy learn valuable life lessons.

Gyllenhaal is strong and ever present in his scenes. There is a scene where he’s listening to a song he and Chris created together while walking down the street in NYC. Watching him free dance down the street, one can sense the amazing versatility and skills he has as an actor. Watts character wasn’t as clearly defined and was probably set up this way to bring her son’s confused life into focus. Lewis was very strong and very good in his role as a confused 15-year-old young man. Cooper was very good as the strong determined man who held his daughter in very high regard. Bryan Sipe wrote and interesting script with a great concept. Jean-Marc Vallee directed this story in some creative ways and I loved the bit about buying anything on Ebay.

Overall:  This wasn’t a great film but, for me, the point of the story was set early on and I bought into the way it was presented.