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.

Captain America: Civil War

First Hit:  I was shocked that people applauded at the end of this film because the story was too fabricated and forced to make it interesting.

I like a good superhero film every once in a while. However, because they make money for the studios, storylines are created to put more of the heroes together.

It isn’t enough to have a group of Avengers focus on a single enemy, here the script writers and producers decided to have them pitted against one another. This, of course, will boost viewership, however I do not think it helps the brand in the long run. This action mirrors short term profits are more important than long term gain and integrity.

The best acting done in this film is by Robert Downey Jr. as Tony Stark and Iron Man. The rest of the superheroes have their moments and it is obvious that the film is set up this way. Each of them gets to display their “super powers”.

The one exception to all of this is the introduction of Spiderman/Peter Parker (Tom Holland). His character is funny due to his newness to his spidey powers and his youthful attitude. The film does try to explore the importance of friendship through the relationship and actions of Captain America/Steve Rogers (Chris Evans) and the Winter Soldier/Bucky Barnes (Sebastian Stan). Their lifelong friendship is tested here.

Also friendship is overtly tested between Iron Man and Captain America. Then there is the issue of government control of The Avengers and their response to issues in the world. This is brought up  because innocent people have been killed through their heroic involvement. Both of these subjects are feebly addressed by the story.

Downey Jr. was the best of the group of actors mostly because he had a fair amount of introspective and intelligent dialogue. Evans is only OK, but I cannot tell if it is only because of the role, script, or Evans own acting abilities. Holland is fun and is the most amusing character. Stan is good as the stoic semi-enemy of The Avengers and the general public. Daniel Bruhl (as the real enemy Zemo) is good enough to pull off being the real antagonist. Scarlett Johansson, Anthony Mackie, Don Cheadle, Jeremy Renner, Chadwick Boseman, Paul Bettany, Elizabeth Olsen, Paul Rudd, and Frank Grillo are only OK as the superheroes that are pitted against each other because their roles are minimized. Christopher Marcus and Stephen McFeely wrote this, let’s make money, script that doesn’t fully address the friendship and government control questions and minimizes the skills of this extensive cast. Anthony and Joe Russo’s co-direction is evident because of the scattered way this film interprets the screenplay and use of this fine cast.

Overall:  This was a film I didn’t need to see.

Papa Hemingway in Cuba

First Hit:  A mediocre attempt to share the final days of Hemingway in Cuba while watching his creative demise through alcohol.

I liked the idea and concept of this film but segments, especially with Joely Richardson (as Mary Hemingway), felt as though either the screenplay or the acting was forced and poorly executed.

The idea that Ernest Hemingway (Adrian Sparks) responded to a letter that reporter Ed Myers (Giovanni Ribisi) wrote him resulting in an invitation to Cuba to meet Hemingway was creative. However, there didn’t seem to be enough energy between the two despite the screenplay that wanted Myers feel as though Papa was going to take the role of his own family.

There were scenes that were very engaging between the two, like when Hemingway accused Myers was ratting on him to a mafia guy. Conversely there were numerous scenes where I wondered why Myers was in Cuba.

Scenes of Hemingway taking over conversations to up his ego by telling stories about himself may have been representative to the real Hemingway, however, when Mary started calling him on his self-centered behavior in public the film and acting didn’t engage me as being right or truthful. The general scenes of Cuba were OK, but I think there could have been more to share and Hemingway’s compound, although it may have been representative, was atypical of how Cuban’s live.

Richardson’s Mary Hemingway was uneven because the two different personalities she displayed didn’t seem to fit well. Ribisi’s character was strong and I didn’t buy that he was a writer because we didn’t get snippets of his craft, only praise by other characters. Minka Kelly as Myers’ girlfriend was very good and I enjoyed when she was on the screen. Sparks’ Hemingway was strong and I bought his character flaws and all. Shaun Toub as Hemingway’s long term friend Evan Shipman was very good. I loved his character as the supportive friend. Denne Bart Petitclerc wrote a screenplay that was erratically strong and challenged. Bob Yari’s direction felt uneven.

Overall:  This film was interesting in some ways and mostly to learn more about Hemingway’s later years.

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.