Humanity Is Just Nasty: Exploring Mental Illness in Silver Linings Playbook and Rachel Getting Married

Depicting mental illness is tricky because so much exists beneath the surface. This visual medium can present grand moments, but it isn’t so easy to show the struggles going on inside the mind. Translating this internal conflict onto the big screen requires serious mettle to avoid turning it into a cliché. A prime example is Anne Hathaway’s Kym in Rachel Getting Married. She frequently says the wrong thing and makes everyone uncomfortable, yet we have to understand her pain in some fashion. It won’t be an easy journey, but there needs to be a connection or else the audience is lost. Director Jonathan Demme uses a naturalistic style that puts us right inside the house while Kym struggles to bond with her family. It’s a hopeful time for them because of Rachel’s (Rosemarie DeWitt) impending wedding, yet the return of her sister threatens to induce chaos. Kym has a serious amount of baggage, but she means well in her own way. Her drug addiction appears under control after years of rehab, yet the past demons remain at the forefront. Demme shows the tension that Kym brings to each family situation, and her role in a past tragedy just exacerbates the situation.

Similar challenges appear in the creation of David O. Russell’s Silver Linings Playbook, one of 2012’s most acclaimed films. While Kym’s issues stem from one awful event, Pat (Bradley Cooper) suffers from bipolar disorder that is probably genetic. His father (Robert De Niro) has serious OCD issues that make this possibility seem greater. Pat also returns from a mental institution and is trying to get his life on track. He’s optimistic about reuniting with his wife Nikki (Brae Bee), but that seems very unlikely. After catching her having an affair, he violently beat her lover and was institutionalized. Few relationships can recover from this type of mess. His parents are supportive, but even they can only take so much of his erratic behavior. Waking them up in the middle of the night to find his wedding video and then striking his mom (Jacki Weaver) is hardly acceptable behavior. Pat searches for a “silver lining” (hence the title), but he’s still pushing back the realities of his illness. Positive thinking can only take you so far when the problems are biological. Kym’s family is doing a similar thing and pressing her to be “normal” for the wedding. Her father (Bill Irwin) maintains a happy demeanor and tries to avoid thinking of his son’s death. Each time Kym goes off the rails, it only reminds everyone of their painful history.

Adapting the novel from Matthew Quick, Russell found it difficult to balance the drama with the romance in Silver Linings Playbook. It’s heavy material yet ends with a dance competition. He’s channeling Cassavetes with the family drama but showing more hope. Pat’s salvation may arrive with the much-younger Tiffany (Jennifer Lawrence), who lost her husband in a car accident. It’s an unconventional romance with ups and downs, yet it’s clear that she’s grounding him. Despite his insistence that Nikki will come back, the claim grows less convincing once the dance training begins. Cooper is 15 years older than Lawrence, yet it’s hardly noticeable. Lawrence won the Oscar for this part and shows a resilience that’s well beyond her 22 years. When Tiffany steps into the house and takes on everyone, it’s a magnetic scene that’s one of the best in the film. Russell’s hand-held cameras drop us right into the middle of the conflicts. The question is whether he can stick the landing and bring life to a surprisingly conventional finale. We’ve seen the final chase so often that it’s tiring to watch it play out again. Only the fine work from Cooper and Lawrence saves the day.

It’s surprising that Writer Jenny Lumet mostly avoids the romantic angle for Kym. The best man Kieran (Mather Zickel) is also a recovering addict, and they do hook up after recognizing this connection. There’s a chance to set up Kieran as a confidant who can guide Kym back to mental health. It’s such a relief to have Lumet (Sidney’s daughter) sidestep this obvious theme. She won’t let Kym off the hook that easily and puts her through the ringer all weekend. Much of the damage is self-inflicted, particularly when she makes an awful choice to apologize to her sister during the toasts at the rehearsal dinner. Kym believes in everything she’s saying, but the timing reveals a lack of self-awareness that’s come from years of struggles. When we learn her direct role in the tragedy, this damage makes sense and flips the attention back towards her sister. Rachel has every right to be angry at her sister for upstaging her wedding, but she isn’t seeing Kym’s pain. When they finally re-connect on the wedding day, the silence between them says more than any words could do. They’ve been sniping back and forth for several days, but neither has really heard the other talk. Taking the time to listen and break through all the bullshit is the only way they’ll ever connect and try to rebuild the relationship.

A similar moment of recognition happens for Pat, and it’s one of the best touches in the movie. His initial decision to train for the dance competition is a bargaining chip so Tiffany will pass his heartfelt letter to Nikki. There’s a remarkable moment when Pat recognizes that his wife’s response was actually written by Tiffany. The serene look on Cooper’s face is priceless, and that sense of calm sticks with Pat for the rest of the story. A lesser movie would pile on the misunderstandings and make things difficult, but it’s clear from this point that he’ll do anything for Tiffany. The volatile guy recognizes what she’s tried to do and achieves a focus that’s been missing for years. Cooper underplays this understanding so well that you could easily miss it. When Pat finally meets up with Nikki, we don’t hear the conversation but get what’s happening solely from Cooper’s expressions. Pat has finally moved on from a messy situation and is ready to stop fighting himself. His disorder is going to be around forever, but he’s trying to take control and isn’t blaming anyone else.

Both films end with a festive event that puts a positive spin on all the drama leading up to it. Rachel Getting Married is filled with turmoil right up until the wedding day, but it slips away once Rachel and Sidney (Tunde Adebimpe) tie the knot. The party is ridiculous and nearly goes too far over the top with excess. The groom sings a Neil Young song during the ceremony, and Robyn Hitchcock (!) performs at the reception. This wedding party cost a serious amount of money, and Demme nearly undercuts the drama by going so far in the other direction. The saving grace is Hathaway’s work as Kym, who is clearly reeling from the fight the night before with her mom (Debra Winger). Everyone is having a blast, but she’s still a long way from strong mental health. When she returns to rehab the next morning, her faith is renewed but hardly out of the woods. This weekend sets the foundation for future growth, but there’s plenty to do for the family. Kym recognizes the challenges but seems content for the first time in the entire story.

Silver Linings Playbook provides an odd combination of unconventional human drama with a pretty standard structure. It’s a testament to Russell and the fine actors that it feels original while remaining tied to the formula. A silly dance to the White Stripes’ “Fell in a Love with the Girl” is a nice touch because it shows Pat and Tiffany really letting loose. Their happy ending is assured, and the misunderstanding that sends her fleeing the scene feels out of a lesser movie. Russell trusts the audience to follow the story but can’t help but get stuck in a tired device. The chemistry between Cooper and Lawrence keeps us engaged, and they find a way to sell even the typical scene. We’re rooting from them to succeed even when the plot sends them in predictable directions. The resolution is less daring than Demme’s choice, yet both don’t overstep the feeling that we’re just seeing the start of a recovery. Each story works because the characters are well-developed and played with confidence. That’s the true test of films that delve into the frailty of the human psyche.

That Was a Rockin' Show! Marathon: Monterey Pop (1968)

A major goal for this marathon was to check out legendary documentaries that I need to watch as a music fan. I’ve seen The Last Waltz, Gimme Shelter, and others, but there still are unseen giants. A prime example is D.A. Pennebaker’s Monterey Pop, which covers the famous 1967 festival. The lineup includes household names like Jimi Hendrix, Simon & Garfunkel, Otis Redding, and so many others. Putting all these huge talents in one place was a stroke of genius, particularly in the pre-Woodstock era. Modern festivals like Coachella and Lollapalooza owe plenty to this San Francisco event. Critics and music fans rave about this film, but it isn’t as well-known as some other concert documentaries. Criterion has released the entire show on Blu-ray and DVD, but I’m just checking out the original movie. Clocking in a brisk 79 minutes, it gives an exciting overview without overstaying its welcome.

Monterey Pop – Directed by D.A. Pennebaker; Starring The Mamas & the Papas, Simon & Garfunkel, Canned Heat, The Jimi Hendrix Experience, Jefferson Airplane, Otis Redding, Country Joe and the Fish, and The Who

Where and when did this concert take place?
The three-day Monterey Pop Festival occurred in 1967 from June 16 to June 18 at the Monterey County Fairgrounds in Monterey, California. More than 50,000 people attended, and the numbers were much larger for the headliners. Amazingly, nearly all the money went to charity. This was a showcase for artists like The Who and Otis Redding and made them overnight stars in this country. What’s amazing is that Redding died six months later, and headliners The Mamas & the Papas broke up soon afterwards. While signaling the dawn of a new era, this concert also marked the end of some remarkable acts.

How does the director choose to present these bands? Is it effective?
Pennebaker (Don’t Look Back) brilliantly uses a “fly on the wall” approach to give the feeling of being in the crowd. His cameras provide clear views of the band along with an intimate look at the crowd. It’s a subtle approach that captures the energy of being in Monterey without going over the top. The focus remains on the artists, and he doesn’t waste time on clever tricks. Pennebaker also doesn’t slow the pace and moves rapidly through the classic bands. He goes from Jefferson Airplane to Janis Joplin, Eric Burdon & the Animals, and The Who in record time. All of these bands could carry an entire show, but they get only a song or two to prove their mettle. We hear some hits, but the choices are designed to set a particular mood instead of giving us the expected showstoppers.

Do the performers have a good stage presence during this show?
This concert might be less raucous than your typical rock show today, but it includes some chaotic performances from charismatic icons. The Who close their set with a blistering rendition of “My Generation” and then decimate their equipment. Later on, Jimi Hendrix plays “Wild Thing” and sets his guitar on fire while it’s still playing. Destroying equipment has become a cliché, but it still had an impact at this point. Another magnetic performer is Jefferson Airplane’s Grace Slick, who sings with a wide-eyed intensity that’s hard to match. On “High Flyin’ Bird” and “Today”, she powerfully grabs our attention. There are a few exceptions that are less thrilling, however. The Mamas & the Papas are a bit awkward; it’s possible I’ve been spoiled by the studio versions. The inclusion of Country Joe & the Fish is also odd given the participants that aren’t shown. I’m viewing this with knowledge of bands’ staying power, so it probably isn’t fair given the popularity at the time.

What are some of the highlights?
There are few disappointments in the 15 songs performed, and most would be the highlight of a lesser film. The most exciting performer is Otis Redding, who belts out “Shake” and “I’ve Been Loving You Too Long” and gets a huge response from the crowd. Eric Burdon & the Animals do justice to the Rolling Stones’ “Paint it Black” with some wonderful guitar work. The film ends with a lengthy song from Ravi Shankar during his afternoon performance. The audience sits rapt as he plays his trademark sitar for more than 10 minutes. It’s an intriguing way to end a movie that’s largely consisted of upbeat numbers. Pennebaker gives us an hour of thrills and then allows us to cool off with Shankar’s final song. This refreshing approach ends the movie on just the right note.

Beyond the songs, does this film have an interesting style?
Monterey Pop takes just the right approach to documenting a concert festival. With help from talented camera operators like Albert Maysles and Richard Leacock, he puts us right into the venue. The crowd footage and brief interviews are enough to create the right atmosphere without distracting from the performances. It’s no surprise that this movie became so influential to both the music and movie worlds. It ranks among the best concert films and is a must-see for anyone interested in either medium.

Next week, I’ll catch Michael Jackson right before the end for This Is It.

TV: Greatest TV Pilots: Prison Break

This post was written for Sound on Sight, an excellent online spot for great writing on film and television. You can check out the original post at this link.

This is a grand age of serialized TV drama where networks don’t shy away from airing shows with complex arcs. There’s a downside to this extended story line, however. Creators may plan out multiple seasons for their characters, but they slow the pace down to a crawl. The episodes feel their length, and the audience is just waiting for the rare moments when something happens. Glacially paced series like Flash Forward and The Killing had a good start but became nearly unbearable by mid-season. Thankfully, there are amazing shows that dive into the action like every episode is their last. Even long-running classic shows like Battlestar Galactica and Lost didn’t waste any time and delivered remarkable drama from the start. Another intriguing example is Prison Break, which premiered on FOX on August 29, 2005. Its first season is set up like one long story where Michael Scofield (Wentworth Miller) purposely enters prison to break out his brother Lincoln Burrows (Dominic Purcell). Even when its original 13-episode run is extended to a full season, the writers keep their eye on the ball. The pace stays relentless, and they keep raising the stakes until the final episode.

The pilot is directed by Brett Ratner, who’s considered a mediocre filmmaker at best. His style is the right choice for this show and brings a relentless tenacity to the material, however. Michael throws himself into the plan with no parachute, and the camera work matches this courageous (and foolish) venture. The opening segment provides a glimpse at Michael’s plans for the prison and the characters that he meets inside. He robs a bank, receives his sentence, and the action moves to the prison in record time. This is a wise choice from Creator Paul Scheuring, who also wrote the script. He doesn’t waste time on exposition and trusts the audience to follow along. It’s thrilling to watch this type of show because it’s so rare, particularly for its era. Its closest companion is 24, which used a similar approach in its first season. Both shows recognize that modern audiences are ready to jump into the action without understanding the destination. Scheuring sets the stage for a brilliant opening run and puts all the pieces in place in the opening episode.

The breakout star is Wentworth Miller as Michael, the brilliant engineer who knows the prison inside and out. He’s aided by the world’s most complex tattoo, which actually includes the plans of the facility. This device is a great visual to close out the episode, though it does require him to wear long sleeves a lot more than your normal guy. The make-up crew only has a certain budget! Miller does an excellent job showing Michael’s brilliance and the arrogance that nearly jeopardizes the plan. He also shows the charm that draws the eye of Dr. Sara Tancredi (Sarah Wayne Callies). It’s clear this isn’t the typical prison thug, and even the stern warden Henry Pope (Stacy Keach) recognizes the difference. The pilot sets up Michael’s relationships with both characters that are essential to the first season. His cellmate Fernando Sucre (Amaury Nolasco) is already pining for his girl outside, so that painful story line begins right away. We’re also briefly introduced to important supporting players like John Abruzzi (Peter Stormare) and “C-Note” (Rockmond Dunbar). These guys will join the ever-growing gang that decides to try and escape Fox River. It’s surprising that the nuttiest inmate doesn’t even appear in the premiere. Robert Knepper makes quite an impression as “T-Bag”, but he arrives in the next episode. There’s a real depth to the cast that keeps it from being a one-man show. Dominic Purcell eventually becomes the co-lead as Lincoln, but the pilot is definitely Michael-centric.

Beyond the prison story, there’s also a conspiracy surrounding Lincoln’s incarceration that eventually becomes much larger. The shady organization is represented by Paul Kellerman, played with glee by Paul Adelstein. He’s an intriguing villain because there’s so little information about him. He murders a bishop in pilot, so it’s clear this guy means business. It’s refreshing to note the limited time spent on this conspiracy in the beginning. It grabs far too much screen time in the later seasons and changes the tone of the show. Michael may have to escape yet another prison, but that attempt lacks the focus of this brilliant season. In the opening shot, Michael stares at a giant board of information and is ready to strike. There’s no going back from this move, and his determination sets just the right tone. This isn’t an out-of-control criminal taking another shot at something daring. Michael is a straight arrow who’s leaping completely out of his comfort zone to save his brother. He may need to cross some serious lines to succeed, and it’s certain to be a painful experience.

Prison Break may not rank among the best shows of the past decade, but it’s consistently entertaining and is worth revisiting. The relentless pace barely lets up and keeps raising new obstacles for Michael and Lincoln along the way. There are a few missteps in the early going, particularly Lincoln’s son LJ (Marshall Allman). A show with this many characters does not need a precocious teenager, particularly one with such little personality. LJ plays a key role in the plot and makes sense from that standpoint, but his scenes are one of  few blemishes. Another less-exciting character is Veronica (Robin Tunney), Lincoln’s lawyer and former girlfriend. She investigates the conspiracy from the outside but isn’t as engaging. Even so, neither plays a major role in hurting the momentum. So much happens at Fox River that it easily outshines those concerns. The pilot sets the stage for an incredible opening season that is perfectly designed for a home marathon.

The 5 Obstructions Blogathon #1: Limbo (1999)

Nostra at My Filmviews has organized an intriguing blogathon designed to push writers out of their comfort zones. It presents five obstructions (one per month) that force you to avoid the typical approach to reviews. The first assignment is taking a contrary stance on either a film you love or hate. I’ve chosen to take down a personal favorite by identifying the issues that could draw a negative response. My pick is John Sayles’ 1999 feature Limbo, which is my favorite film from his extensive career. The trick with this task is to develop intelligent arguments that are legitimate despite my personal opinions against them. I’ve accepted this challenge and taken my best shot at developing an alternate reaction to a treasured movie.

Limbo – Directed by John Sayles; Starring David Strathairn, Mary Elizabeth Mastrantonio, Vanessa Martinez, Kris Kristofferson, and Casey Siemaszko

John Sayles has a strong reputation as a talented independent filmmaker who finds ways to deliver great films outside the studio system. Even so, he isn’t the type of household name that draws young movie lovers to seek out his films. They might check out Lone Star or Eight Men Out and enjoy it, but there are plenty who’ve never seen his work. He excels at presenting the intricate workings of the communities that we rarely observe on screen. Limbo depicts the fictional town of Port Henry, Alaska as it struggles to maintain a once-thriving economy. Tourism is overtaking the state and leaving the locals out in the cold. The early scenes present the interesting characters that populate this town, particularly at the bar where the grizzled residents mingle. There’s an interesting story about this group, but Sayles pulls the rug out from under us and delivers a quite-different movie. The result is a risky and unfortunate venture that creates more questions than it answers.

David Strathairn stars as Joe Gastineux, a former high school basketball star who quit his life as a fisherman after a tragic accident. He begins a romance with Donna De Angelo (Mary Elizabeth Mastrantonio), a lounge singer who’s struggling to connect with her teenage daughter Noelle (Vanessa Martinez). There’s promise in this relationship despite the baggage that each brings to the mix. When Joe’s half-brother Bobby (Case Siemaszko) asks him to take him on a sailing trip as a favor, he invites Donna and Noelle. This is a mistake given the nefarious folks who Bobby is meeting and changes the tone of the movie. Instead of being an engaging look at an Alaska town, we’ve shifted to a story of pure survival. This could be exciting given the solid acting from Strathairn and Mastrantonio, but they’re given little to do but wait for a resolution. They spend the days just sitting on the island and hoping for an escape. This kills the story’s momentum and loses the audience during the third act.

The first act includes several engaging performances from Donna, particularly a strong rendition of Tom Waits' "(Lookin' For) The Heart of Saturday Night" at the bar. They stand alone as impressive moments, yet they seem out of place within the ongoing story. This uneven tone permeates the entire film and shows how Sayles is reaching for something. It's an ambitious structure, and it's hard to give him too much trouble about trying something different. The trick is finding a way to keep the audience engaged when he shifts gears. We're interested in the trio's survival, but that doesn't mean it's an exciting ride. The pace creeps along and doesn't offer enough beyond a few highlights that stand out from the mix.

The challenge for Sayles is keeping us engaged in a story that focuses on such a small group of characters. They’re stuck in “limbo”, but the audience is right there with them. An interesting side player is “Smilin Jack” Johannson, played with his typical charm by Kris Kristofferson. He clearly has a beef with Joe, but that conflict is hardly developed. When he returns and plays a key role in their fate, there’s a cool mystery of whether the past will come back to haunt Joe. The problem is that Sayles uses their issues solely as a device to deliver an ambiguous ending. There’s no clear resolution, which is frustrating since we’ve gotten to know the main characters. They’ve built a family that could have a positive future, but Sayles refuses to give them a fair conclusion. Instead, he tries to shock us by leaving the threads open to interpretation. Does it matter if we learn their ultimate fate? Regardless of the outcome, having more clarity would have strengthened the movie. We’re left wondering about the point of it all and feel hollow about the entire experience. It’s an original experiment yet falls short of its ambitions by reaching for a theme that isn’t there.

That Was a Rockin' Show! Marathon: The White Stripes Under Great White Northern Lights (2009)

I’m a concert junkie and have attended hundreds of shows over the years. My numbers are way down recently, but I can think of few better ways to spend my time. While films can’t match up to the live experience, they often provide a great substitute if the right artists are involved. This marathon will tackle movies about both my favorite bands and acts that I barely know. The selections are designed to cover a variety of genres and eras. My first choice depicts one of the breakout bands of the past decade. The White Stripes burst onto the scene with their third album White Blood Cells in 2001 and never looked back. The duo of Jack and Meg White has a unique sound that’s only grown over time. They called it quits in early 2011, but their influence will remain for a long time. Jack has released an impressive solo album and should be a mainstay. I only caught the White Stripes in concert once back in 2002, and it was an incredible show. They blazed through an hour of songs and barely gave a breath to the packed crowd. This rampant energy is all over the documentary The White Stripes Under Great White Northern Lights and reveals plenty about this group.

The White Stripes Under the Great White Northern Lights – Directed by Emmett Malloy; Starring Jack White and Meg White

Where and when did this concert take place?
This film covers a series of concerts for the White Stripes during their tour across Canada in 2007. They played a show in every territory and ventured to places like Yellowknife that rarely get major acts. Along with nighttime shows at larger venues, Jack and Meg appear at random locations in these towns with little notice. Instead of sleepwalking through the tour, they seem ready to try anything to keep things fresh. There are performances of their signature tunes plus footage of the band hanging out behind the scenes.

How does the director choose to present this band? Is it effective?
Emmett Malloy receives close access to Jack and Meg and gets an intimate perspective on their much-different personalities. This allows him to provide more than we’d learn with interviews. He zooms in closely on their faces and tries to grasp what’s behind the showbiz exterior. A majority of the footage is in black and white, which brings a classic feel reminiscent of Sam Jones’ shots of Wilco in I Am Trying to Break Your Heart. The periodic switches to color are an inspired choice and fit the mood of the rocking numbers. It’s a visually stunning film that goes beyond the concerts. Malloy is a veteran director of music videos, and he understands how to draw energy from even the quieter moments. When the volume cranks up, we’re right there on stage with the band as they destroy the audience.

Do the performers have a good stage presence during this show?
The White Stripes are an intriguing pair because their personalities are so different. Jack is a ham with an over-the-top personality who clearly enjoys being the center of attention. Meg is extremely quiet and clearly uncomfortable in the spotlight. Malloy even uses subtitles for most of her comments because her volume is so low. Given the fact that they broke up several years later, her anxiety comes more into focus. The camera zooms closely to her face and captures a reserved soul trying to put on a brave face for the crowds. It’s much different on stage, where Jack and Meg play off each other so well. He’s all over the place and brings the energy, but it only works if she’s up to the task. The music is great, but what sets them apart is the personality that both bring to the shows. Few acts could get away with performing an impromptu “Wheels on the Bus” while riding a bus and still seem genuine. The montage of the band playing at random locations like a bowling alley, a YMCA, and even a fishing boat works because they sell it. The movie opens with them making a daytime appearance and playing one note for the adoring crowd. The fact that they can do that and not get an angry response shows how much they’ve connected with fans.

What are some of the highlights?
The best moments happen on stage as the band recklessly flies through their signature tunes. The Citizen Kane footage during “The Union Forever” is a clever touch; it's amazing that I missed the connection. The spoken-word portion synched up to the party scene is a great moment. Rockers like “Seven Nation Army” and “Icky Thump” are even more powerful on stage, and Dolly Parton’s “Jolene” brings down the house. A daytime visit with Native American tribal elders shows everything about this band. We start in the car as Jack and Meg complain about having to go for an hour. Even so, he turns on the charm at the meeting and seems thrilled by the experience. Is it all a sham? I’m inclined to believe he’s being genuine, but I expect this isn’t a universal opinion. Malloy shows us the weariness of such a busy schedule yet presents the unique moments that make it all worthwhile.

Beyond the songs, does this film have an interesting style?
Under Great White Northern Lights is one of the more impressive concert films that I’ve seen in a while. The washed out cinematography is an inspired choice and delivers a striking look. Simple footage of Jack and Meg walking on the beach is gorgeous. The film ends with them sitting at a piano as he plays the emotional tune "White Moon”. She tears up by the end, and Malloy captures this moment without being intrusive. It feels like the perfect send-off for a band heading towards their last days. They’re such different individuals yet seem just right together as a group. It isn’t easy to capture the essence of a band in 90 minutes, but this film makes a valiant attempt.

Next week, I’ll hit the festival circuit and pitch my tent for Monterey Pop.

We're All Dead! Marathon II: The FP (2011)

In the realm of post-apocalyptic movies, few locations appear less dire than Frazier Park. Casually referred to as The FP, this area is struggling because they lack access to alcohol. The residents must turn to drugs (apparently Diet Coke is in short supply), and the region is suffering. The tyrant L Dubba E (Lee Valmassy) leads because of his dominance at Beat Beat Revelation, and no one is capable of stepping up and taking him out. This game closely resembles Dance Dance Revolution, and failing can lead to death. Following the sad demise of his brother BTRO (Brandon Berrera), our hero JTRO (Jaston Trost) swears off the game and leaves the scene. How will this land survive? The bums aren’t even around to take care of the ducks! What’s a town with no ducks? You have to admire a story that goes so far off the rails and dives into its premise. This futuristic tale is definitely spoofing the dystopian and sports movie genres. The challenge is keeping this satire entertaining when it’s trying so hard to be awful. It takes a certain kind of viewer to enjoy this unusual movie.

The FP – Directed by Brandon and Jason Trost; Starring Jason Trost, Lee Valmassy, Art Hsu, Caitlyn Folley, Nick Principe, and Brandon Berrera

The FP was the second production distributed by Drafthouse Films, who have released Four Lions, Bullhead, and other notable films. It was shot on an extremely low budget, and the Trost brothers don’t spend much time developing the environment. Although it takes place in a post-apocalyptic future, it resembles many small towns that we’d see today. The costumes are a bit different, but the rest is pretty generic. Characters still drive around in cars, shoot guns, and mostly talk the same. Our society’s grown a lot more vulgar and is dominated by white guys trying to be hip-hop stars, so that’s a frightening outlook on the future. Of course, they’re hardly striving for realism within this movie. It’s purposely designed as a lark with over-acting and plenty of silliness. At one party, dancing girls are just standing in a baby pool while a DJ spins music. Another is topless several times in the background for no apparent reason. It’s the goofy behavior that makes this film both entertaining and sort of maddening. The head-scratching moments make it fun yet also sort of grating. There’s a definite charm to the utter seriousness to the dancing game, which makes even the most macho guys look ridiculous. The directors purposely choose that contest and then enact devices (cage match!) to enhance the absurdity. I expect it was hard for anyone to keep a straight face while shooting this material.

The best moments involve the many references to the Rocky films, particularly the great Rocky III. The villain even resembles Mr. T and tries to speak with his unabashed confidence. There are two lengthy training montages and even a run that closely mirrors the Rocky/Apollo showdown on the beach. While the homage is obvious, it’s hard for me to dislike anything that refers back to the Rocky movies. The fact that much of the training involves JTRO standing in front of a screen and dancing just adds to the appeal. I don’t have the same excitement for the love story, which keeps following the same pattern. Stacy (Caitlyn Folley) chats with our hero and seems ready to hook up, then quickly leaves when her father or L Dubba E arrives. The bad guy’s treatment of women is so over the top that it’s painful even though it’s designed that way. I recognize the satire in creating the nastiest villain ever, but it becomes too much at times. Sporting giant gold teeth and speaking every line with scenery-chewing vigor, Valmassy has a blast depicting the ultimate brute. Watching the DVD interviews, it’s hard to believe it’s even the same guy on the screen.

Reviewing a movie like The FP is nearly impossible because it sets out to be bad. It’s stupid and strives for the bottom of the scale. The final shot of JTRO’s ultimate reward from his girl provides a clear reminder of the chosen genre. It’s a deliberately trashy movie that leaps energetically into the muck. While much of it doesn’t work, there’s a vitality in this attempt that makes it not so bad. I’d rather re-watch this movie than plenty of “serious” fare that aims for something higher. The absurdity is what keeps it watchable, though there are limits to this approach. The end result is a mixed bag of fun and painful material that is going to alienate a lot of viewers. Leave your hopes for subtle and witty humor at the door.

We're All Dead! Marathon II: It's a Disaster (2012)

Disaster films often take a serious look at survivors coping with a devastating environment. Movies like The Road, The Quiet Earth, and many others show people looking for meaning in life after society has crumbled. Taking a much-smaller approach is Todd Berger’s It’s a Disaster, which appeared at film festivals in 2012 and received a limited theatrical run last month. Familiar faces like David Cross, Julia Stiles, and others arrive for a pretty mundane couples’ brunch. There’s some interpersonal drama, particularly with a couple announcing an impending divorce. That pales in comparison to the impending doom that’s lurking just outside their walls. Signs continue to appear about issues beyond that house. The power goes out, phone lines are down, and television is gone. What is happening? Even when the danger is clear, the characters are still more focused on their own drama. Berger takes a light approach to the disaster and uses it to set up the comedy. It’s a small-scale production but has some charm if you don’t mind the self-involved characters.

It's a Disaster – Directed by Todd Berger; Starring David Cross, America Ferrara, Erinn Hayes, Jeff Grace, Rachel Boston, Blaise Miller, and Julia Stiles

Cross stars as Glen, the newbie who’s just started dating Tracy (Julia Stiles). This is his first introduction to the other long-term couples, and each pair has its own peculiar qualities. Emma (Erinn Hayes) and Pete (Blaise Miller) host the gathering and are heading for divorce. Hedy (America Ferrara) and Shane (Jeff Grace) are one of those couples that’s been engaged for many years. The goofballs are Lexi (Rachel Boston) and Buck (Kevin M. Brennan), who play awful music and seem ready jump in bed with anyone. The early scenes are awkward and push the quirkiness a bit too much. It’s hard to be interested in anyone besides Glen and Tracy, and this is going to be a long lunch. Thankfully, the disaster premise arrives at just the right time and knocks everyone out of their comfort zones. The entire film takes place at one location, so it’s up to the actors to sell the dire premise. Berger writes in plenty of jokes, but they’ll only land if we’re ready to stick with the characters. Cross does the best work as a regular guy who’s mystified by the others’ goofy behavior. His comic timing is excellent and lands most of the big laughs. He might seem like an odd choice to have a romance with Julia Stiles, but you can see it. Glen’s outsider status and dry wit is a nice contrast to the more dramatic behavior of the others inside the house.

My wife and I are certain that we'd be the first people to go after the apocalypse. However, I think we'd last longer than this group. Berger has fun playing with the conventions of the disaster movie. Shane has seen a lot of movies and is most concerned with the forces behind the bombings. While the others are still playing out the personal drama, he’s solely focused on the situation. Of course, he’s also crazily paranoid and has watched too many conspiracy movies. One highlight takes an obvious shot at telemarketers. The phones and electricity are out, but even that can’t stop the power of offshore call centers. The Manila phone operators’ reaction to learning about the attacks is classic. It’s this type of moment that keeps the story engaging once the chaos begins. Another fun scene has Tracy icily staring down Jenny and Gordon, the always-late attendees. She gets the last word about their tardiness while they die on the porch. Stiles sells the cold, yet understandable approach to friends who just can’t get their act together. The party eventually devolves into singing, dancing, and other mayhem as everyone loses their nerve. America Ferrara’s eating and drinking extravaganza is a fun change of pace for the talented actress.

The thin plotting for It’s a Disaster works because it’s a breezy experience. Clocking in just below 90 minutes, it doesn’t overstay its welcome. There is an unfortunate third-act twist involving Glen that falls flat. The shift doesn’t fit with everything we’ve learned about his character and feels like a gimmick. It’s designed solely to set up the final gag and brings a strangeness to the ending. The last shot is amusing and nearly saves this move, but it still rings false. Cross sells the craziness and is the right guy for that material. There’s a way to use the same device without giving such an odd change to a likable character. Even with this choice, Berger does plenty of things right with this low-budget production. It’s the type of movie that charms film festival crowds but rarely makes a dent in a limited theatrical run. I’d suggest checking it out through video on demand or in a future home release. The change of pace from the normal disaster movie is enjoyable. There are few pretensions or grandeur, and the actors have fun playing in this small-scale environment.