SISTERS Review

Sisters is a comedy of errors that works more because of its sisters than its errors. It's a movie that is amusing based solely on the appeal of its two lead stars rather than the thin premise that presents a situation made amusing by Amy Poehler's bungling and Tina Fey's incompetence. Of course, when one has stars as appealing and with as much chemistry between them as Fey and Poehler the premise doesn't have to be extravagant and even the execution doesn't necessarily have to be flawless-it just needs to give the two stars it's serving a solid jumping off point. In what seems like a move that should have been made a long time ago, Poehler and Fey finally find themselves playing sisters with their relationship being put to the test when their parents decide to sell their childhood home. Of course, given this is a light, rather breezy comedy things don't become too bogged down in the themes of material versus memories, but rather the polar opposites decide to throw one last party to commemorate all the good times they had on what they consider to be hallowed ground. What is great about Sisters is that it so clearly knows what it is and what it wants to be that it aspires to be nothing more than an excuse to watch Fey and Poehler rift for two hours while bringing in some of their closest Saturday Night Live friends to play along with them. Like that sketch comedy show, the material may not always be the strongest, but it can go a long way based on the ability of the players it is in the hands of and while longtime SNL writer Paula Pell is behind this script (and one can catch how in tune Pell is with her stars at certain points) it is in the players that this material really finds life. The dynamic between Fey and Poehler is ripe for comedic opportunity and by casting each of them against type rather than going with the assumed roles it makes for a more interesting film despite the somewhat indulgent running time that could have been trimmed by twenty minutes in the middle. It's not that Sisters is bad or out of touch, but it's not a transcendent comedy, either (not that it was expected to be); the movie simply fulfills one's basic expectations and little more. That said, I had a fun enough time with it.

First Trailer for SISTERS Starring Tina Fey & Amy Poehler

With Trainwreck hitting theaters this weekend, Universal has premiered the first look at the new Tina Fey/Amy Poehler comedy, Sisters. It can only be surmised that anything featuring the talents of Fey and Poehler will be nothing short of greatness, but the jury is out on Sisters and won't be back until Christmas. As much as my twenty-one year old self enjoyed Baby Mama (and don't get me wrong, I'd probably still enjoy it today) as well as their numerous Golden Globes gigs there is something about this trailer that seems to be, well, forced. Whether it is the 80's nostalgia aspect, the love story featuring the (admittedly hilarious) Ike Barinholtz or the attempt to switch things up by having Fey play the outlandish persona and Poehler take on the more prudish one, I can't put my finger on it. Still, there is a lot of hope here as Fey and Poehler's chemistry is undeniable and the screenplay comes from long-time SNL, 30 Rock and Oscars writer Paula Pell as well as being directed by Jason Moore (Pitch Perfect). While the trailer indicates nothing short of a good time it is easy to see the beats this thing is going to hit, but that doesn't mean we know the jokes that will come along with it and I understand that. I'm eager to see what they come up with as I genuinely laughed two or three times throughout the course of this nearly three-minute clip and yet I still feel the need to be cautious. Beyond the headliners, the film has a comedic supporting cast for the ages that includes Maya Rudolph, Kate McKinnon, John Leguizamo, Dianne Wiest, James Brolin, Adrian Martinez, Rachel Dratch, Bobby Moynihan and John Cena. Sisters opens (the day after Star Wars: The Force Awakens) on December 18th.

FOCUS Review

I faced something of a conundrum with Focus as I was really rooting for it and yet I'm wondering if I enjoyed the film more because it wasn't as all over the board as it seemed to be or if it's because it's genuinely pretty fun. There is also the case of Will Smith. Smith is one of those personalities I feel like I've known my entire life and that I've grown up with. And like many, I've acquired an affinity for the actor/rapper over the years and have been happy to support him in his mega-stardom and remain hopeful when he delivers bombs like After Earth. If anything, anyone who is, was or might still be a Smith fan was looking to Focus to redeem our hope in big Willie's style and get the guy back on track, back to where he needed to be both at this point in his life and career. For me, that was the aura surrounding this film and it felt good because Smith had never looked cleaner and the film had all the same slick edges to it that seemed to match Smith pound for pound in its style. Written and directed by Glenn Ficarra and John Requa (Crazy Stupid Love) these guys are the first ones in what seems like too long that actually know how to use Smith in what he does best. In Focus there are plenty of pretty people wearing what are no doubt outrageously expensive clothing in exotic locations, but it is the confidence of Smith not only in his appearance, but in the way he conducts himself and his ability to portray all of that effortlessly with a sense of cool to match that keeps him our main point of, well, focus. And so, despite being concerned I was coming at the film from something of a biased perspective (though really, I have no reason to) I can't help but feel it follows through on what it promised in that it's a stylish con man thriller in the vein of not only pulling one over on its characters, but the audience as well in that they're too self-aware to go for the "one con to end them all" scheme, but that they instead get away with as many twists and turns as they do while coming out unscathed with audiences who are seemingly hip to their game. In a movie that is so much fun to watch with characters so attractive and interesting one is literally unable to take their eyes off the screen.

THE SECRET LIFE OF WALTER MITTY Review

A sense of anticipation and excitement fills me whenever Ben Stiller decides to direct a film and to know that his latest, The Secret Life of Walter Mitty, was as much a passion project as it was an option for the producing studio to re-make a classic title that starred Danny Kaye from the late 40's only upped my anticipation for what would hopefully turn out to be an insightful and life affirming tale of a man equally forced and scared out of the direction he once believed his life was going to take. Many people take issue with Stiller for reasons I can understand, but that mostly pertains to his acting ability, comic schtick and lack of range rather than the creative choices he makes when he is in full control. The guy can make however many Focker and Night at the Museum movies he'd like and I will still attend them because there is simply something about him and his ability to play the everyman with the right touch of comedy that appeals to me, but seems to have worn thin with many audiences. The good news here is that Stiller keeps his persona in check and the outright moments that are played for laughs to a minimum simply allowing the story to breathe. The Secret Life of Walter Mitty is truly something to take on and though I have not seen the original Kaye version nor have I read the short story from James Thurber that inspired both films, it seems best to take Stiller's version on its own terms as it has modernized the themes that were likely the spirit of the original source material. I was floored by the initial trailer for this film as I had the rare experience of seeing it for the first time on a theater screen rather than on my phone or computer and with no pre-conception of what to expect. The tone, the shot selection, the music and everything else about it were sprawling yet exquisitely calculated and seemed primed to hint at a complete film that not only allowed for a bit of fantastical elements amidst the doldrums of a nine to five routine, but looked to say something akin to what we find on the inside of greeting cards without all the cheese and ingenuity. Instead, with a sense of real merit and heart; something that would speak across all kinds of racial and generational boundaries to the simple fact that life is worth living, so go out and make something of it. Stiller's film is indeed beautifully captured and delicately precise, but it never reaches the emotional heights it seemed so intent on achieving and in that regard it never truly captures the audience, but gives us more an interesting perspective than an engulfing experience.