Ode to the great and powerful Oz (aka Frank)

Frank Oz

Frank Oz has built a career like no other.  While most people may know him for his iconic and unforgettable voices, it is his directing that rocks my world.  Of the fifteen films listed on Director tab in IMDB, full eleven (11!) are among my all-time favorites.  They are gems of execution, masterworks of timing and comedic mastery, timeless examples of well-executed artistry.

Yes, I wax rhapsodic.  But few directors have achieved such a consistent oeuvre, a body of work that is so varied and yet carries a distinct signature.  Chances are, you've seen at least a couple, and haven't realized that their auteur is also one of the original Henson troupe.  (For those who are wondering, no, he apparently does not direct on the set in the voice of either Yoda or Miss Piggy. We're not sure about Grover -- stay tuned for confirmation. ;-)  But take a look at IMDB's full list here, and take a gander at my personal top five to get you started.  We have the makings of an incredible movie marathon here...

Top 5 Favorite Movies Directed by Frank Oz

1.  Death at a Funeral

One of the most perfect films around.  We're talking about the 2007 original here, made in Oz's native England, and with an ensemble cast who all seem to have been born to their roles.  Coming from the romantic lead in Joe Wright's Pride and Prejudice, Matthew MacFadyen is marvelous as the slightly bumbling, beleaguered son who must run the funeral, face a scandal, solve one problem after another, and finally stand up to his mother, wife and brother in order to win the independent life he deserves. MacFadyen's IRL wife, Keeley Hawes, plays his spouse in the film, and the two are natural and seamless together.  As the crazily grieving widow, Jane Asher is a revelation. Watch for the wonderful Andy Nyman as poor put-upon Howard, Alan Tudyk for unforgettable naked comedy with heart, and so many other roles that stand alone and together:  Daisy Donovan, Ewen Bremner, Peter Vaughn, Rupert Graves, Kris Marshall, Peter Egan, Thomas Wheatley and just about everyone credited. Of this spectacular cast, it is only Peter Dinklage, in a role that is truly one-of-a-kind and indelibly played, who was invited to be part of Chris Rock's underwhelming and completely unnecessary remake just two and a half years later.  (What was Rock thinking?)

2.  The Score

A standout drama in the group, the stellar cast is led by none other than Robert De Niro and Edward Norton, who both give virtuosic performances.  This heist flick has plenty of twists, turns and obstacles galore, giving the grittiness a place to go, beyond any familiar formula.  There are also a series of very real relationships put to the test throughout the film, sparking more investment in the people than the titular "score".  It's nicely balanced, never boring, and avoids most of the usual we're-smarter-than-security formulas.

3.  Bowfinger and Housesitter  (Tie)

Yeah, I'm cheating.  But the magic of Steve Martin + Frank Oz makes it too hard to choose.  These two films also share an elusive aesthetic sensibility that makes them feel somehow related, in spite of the fact that they're so remarkably different.  The outright creativity of the scripts and the directing, coupled with the ongoing lying and on-their-feet thinking exhibited by the characters in both films, puts both casts' considerable gifts in the spotlight, and both come out shining.  They're both tightly wound, funny as hell, and just this side of ludicrous.  They work because you almost believe the capers would work, and the result is magical.

4.  What About Bob?

Bill Murray is at his best in this film, as the bundle of neuroses who follows his newfound psychiatrist on his family's vacation, cluelessly and systematically ruining their lives.  But as Bob's journey into sanity and a functional life is gleeful and fun to watch, it is Richard Dreyfuss, slowly unraveling and eventually going stark raving mad, who makes this film riveting and unforgettable, and Oz's stamp is all over the film.  Most directors would dive into the humor and thrash around in it until there was nothing left but a big, sophomoric puddle of nonsense.  Not him.  The film maintains that same unreal believability throughout, making Bob's actions seem almost reasonable. We end up caring about these people, who remain human amidst the chaos.  This is one of the hallmarks of Oz's work: the enduring humanity in the face of ridiculousness.  The result is exhilarating.

5.  In & Out

This underrated film was widely panned when it was first released in 1997, and its broad humor garnered criticism for contributing to gay stereotypes.  But there are those who stood by it, and a closer look shows that this is not gay satire, but a biting illustration of what "regular" people did to deal with gay issues at that time.  The cast is exceptional, with Kevin Kline in the lead and Tom Selleck stealing nearly every scene he's in.  The film showcases early work by cinema masters as well as young actors who are now established stalwarts:  Debbie Reynolds and Wilford Brimley are so good as Howard's parents, full of charm and anxiety and genuine affection. Watch for Lauren Ambrose, Alexandra Holden and Sean Hatosy, who shows particular shading in his struggle to accept his beloved teacher all over again.  Joan Cusack brings her signature brand of crazy, and looks absolutely beautiful, and Matt Dillon is funnier than he usually allows himself to be. Only Shalom Harlow wantonly overplays her hand. The real plot is in watching an entire town rethink what they believed to be true about themselves, best expressed in the wonderful scene when five old biddies are sitting around confessing secrets to make Howard's mother feel better:  "I hated The Bridges of Madison County..." And of course, the group rally at the end, an updated version of "I am Spartacus", is priceless. Be sure to stay through the end, as the final credits roll over shots that wrap up quite a few subplots.

This tech diatribe's real power lies in silence

2014's Men Women & Children is one of those films that didn't do well due to ineffective marketing: apparently many casual observers immediately thought "comedy!", yet while Adam Sandler is the first on the cast list, this is decidedly part of his serious oeuvre, not the side that dwells in wackiness and sophomoric nonsense.  If you lean toward more somber films, don't let Sandler's reputation throw you. He's actually very good in three dimensions, ala Punch-Drunk Love or Spanglish, and this could be an acceptable amuse bouche to his better work. Even better, it's not all about him -- he by no means carries the ensemble, but is part of the team, and the rest of the cast is extraordinary together, offering many reasons to see this movie.

So MW&C is no comedy, but more along the lines of The Spectacular Now and A Birder's Guide to Everything, films of the same trend that feature talented teen actors, serious topics and a big helping of familial angst. There has been a long spate of these films over the last decade, giving young actors better opportunities to hone their craft and add quality credits to their reels and resumes.  But this film, while also seriously flawed, is in some ways a cut above its contemporaries, due largely to an impressive array of dazzling performances and to a series of smart choices (presumably) by director Jason Reitman.  The result is a cohesive journey that challenges the senses, as well as our concepts of ethics, morality, connectedness and more simply, the right thing to do. Here's the trailer:



Jennifer Garner, not always a favorite of mine, is quite effective here: tragic and a little creepy, as the mother who so fears for her beautiful teenage daughter that she obsessively tracks and guards her progeny online, on mobile, as well as IRL. On the opposite side of the spectrum is Judy Greer, an erstwhile starlet turned ambitious stage mom, inadvertently (but not entirely guilelessly) guiding her sexy 15-year-old cheerleader daughter down a dangerous cyberpath that seems to lead to stardom.

Sandler and Rosemarie Dewitt (stunning as ever) are a married couple as completely naive about their mutual malaise as they are about their son's porn consumption.  While they attempt to feel alive again by different yet surprisingly similar means, a seemingly typical jock dad (played by the wonderful Dean Norris) is strong and conflicted as he and his son (Ansel Elgort) cope with the departure of his wife for a seemingly blissful new life in California.  Their pain is tangible, as are Norris' heartbreaking efforts to hide it.  Beautiful performances all.

Other stories dwell in the mix, but aren't as prominent, exploring (rather lightly) anorexia, peer pressure, and all sorts of sexual issues. These include some nice moments from a cast of well-selected actors: notably Elena Kampouris as a young girl with an eating disorder, JK Simmons as her father, and Phil LaMarr, who is genuinely committed to helping Elgort's character through a difficult time. While it would have been nice to see LaMarr's character get an actual name in the credits, it's heartening to see "Shrink" portrayed in such a positive light, as school counselors are essential to some students' survival, and all too often maligned onscreen for no real reason.

While the film has low points (as they all do), one of Reitman's remarkable strengths here is in the score, or in many spots, the lack of one.  The way he uses silence and camera work instead of music makes the moving pieced-together soundtrack even more effective.  This contrast mirrors the daily realities of sound in an ever more tuneful world, where the complete absence of sound can be startling, and it is those crystalline moments when we see most clearly into our own souls.

Ode to Tilda: A Swintonian challenge for fall

Tilda Swinton has had one of the most fascinating careers in the business -- there's absolutely nothing average about her. After watching Snowpiercer recently, I was so reminded and inspired by her awesomeness that I've decided to learn more about her diverse body of work.  First, a little personal Swinton history:

Since I first became aware of her with Orlando in 1992 (part of my unabashed years of art house skulking), I unconsciously watch for her, and am always delighted to see her in any role she takes on. Her uncommon beauty is indelible, and most of her films take full advantage, from Conceiving Ada to the Narnia films to The Grand Budapest Hotel.  Even in Michael Clayton, where she plays a relatively normal human rather than an angel or mythical queen, her astonishing pallor, too often mistaken for fragility, turns on those who underestimate such a bitch.

Her interviews reveal, in no uncertain terms, equally astonishing intelligence, and a commitment to character that pays off big in her portrayals.  Perfectly capable of serene loveliness on the red carpet and the catwalk, she is fearless when acting, and seems to have no problem "going ugly", a fear which holds so many other beautiful actresses back.  I have long believed that this is why so many hideous roles seem like award "gimmes", as we tend to see a gorgeous woman transforming herself into her own physical antithesis (e.g. Charlize Theron in Monster) simultaneously so alarming and so mesmerizing that we naturally assume that she must be a better actress than anyone else that year. It's no surprise that this doesn't seem to hold equally true for men -- perhaps we expect them to be monsters underneath the pretty?  But I digress.

So clearly there's great depth here, and like me, you probably haven't worked your way through Swinton's entire body of work.  Therefore, I hereby challenge myself to see as many Tilda Swinton movies as I can get my hands on this fall.  I'll resist the titles I've already enjoyed*, but by the end of 2016, I want to at least have seen the following (except for the first title, listed in no particular order):

• Doctor Strange (opening November 4)
• Love Is the Devil: Study for a Portrait of Francis Bacon
• The Protagonists
• Possible Worlds
• Teknolust
• We Need to Talk About Kevin
• The Deep End
• Julia
• A Bigger Splash
• Only Lovers Left Alive
• I am Love
• Trainwreck  (if I must)

That's about one a week, so that should keep me busy.  Wish me well in tracking them all down, and stay tuned for random notes!

---

*To avoid accusations of bias or neglect, these are the movies from her list that I've already seen over the years, listed here in chronological order of release:

• Aria
• Orlando
• Wittgenstein
• Female Perversions
• Vanilla Sky
• Adaptation
• Thumbsucker
• Constantine
• Broken Flowers
• The Chronicles of Narnia:  The Lion, the Witch and the Wardrobe
• Burn After Reading
• The Curious Case of Benjamin Button
• Moonrise Kingdom
• Snowpiercer
• The Grand Budapest Hotel
• Hail, Caesar!

Shocking confession: Finding my own inner 'Gossip Girl'

I've been working on a project that will take a couple of months to realize, and it involves a lot of busywork -- hours of mindless data entry, migrating data and formatting a new system.  It will all be worth it, as it will revolutionize the business I work for.  But working from home, this kind of work tends to go far more quickly with a little company.

So to my own bewilderment, I found myself working through Gossip Girl on Netflix.  I never watched the show when it was new, and wasn't really interested. But when vapid entertainment can possibly increase productivity, I figured a couple of episodes wouldn't rob my brain of too many IQ points.

But Gossip Girl, while certainly not either great art or even great television, is, at the very least, quite surprising.

The show is alarmingly addictive, with characters more fully realized than expected, and even my feeble inner fashionista is dazzled by the costuming.  This is one very stylish pageant, sporting even of-the-moment directors, with several episodes helmed by erstwhile Brat Packer Andrew McCarthy.

Before I go on about the attributes which have unexpectedly positive, let's get this straight:  I will not be raving on this page about the so-called talents of Blake Lively, who plays Serena, the main character. She's beautiful, and warm, and it's clear that she's no dummy. But her acting is stiff and duo-chromatic (alternating sunny yellow and lethargic blue).  And while she had charm in The Sisterhood of the Traveling Pants and the buzz is that The Shallows is worthwhile, The Age of Adaline couldn't even be saved by the the likes of modern legend Harrison Ford, or even the very hunky Michiel Huisman.  Blrrrrgh...  (And now I'm consciously avoiding a dive into the horrors of The Green Lantern.  That disaster couldn't possibly have been her fault.)

But other actors on this show have done a creditable job with difficult scenes, lending depth to characters that could have been wafer-thin.  Pretty boy Chace Crawford is better than expected, Connor Paolo's dramatic skills show promise beyond mere likability, and mostly one-note Leighton Meester has her moments of pathos.  Kelly Rutherford is an elegant mama bear with considerable subtext.  But there are two actors who, on their own and in ensemble work, repeatedly make this series worth a look:

Zuzanna Szadkowski, as Blair's maid, Dorota, is (hands-down!) the best part of the show.  As the seasons ensued, the producers seem to have realized the treasure they had in their midst, as they start giving her more to do in later episodes.  She's funny, she's wise, she's irresistible -- very much like her doppelganger, the other McCarthy (starts with M!). Pay attention, H-wood: we need to see more of this woman.

But the award for Most Riveting starts with three little words, eleven letters:  "I'm Chuck Bass." English actor Ed Westwick is more than just husky voice, perma-sneer and swagger.  He's handsome, but other than the jawline that could cut glass, not in a conventional way. His character is the reigning devil of the Upper East, but he has a big heart, a wounded soul and the real relationships Chuck develops with Lily, Eva, Eric and even his dog, Monkey, show a far greater capacity for love and respect than we're led to expect.  Rarely does a TV character, even one as maligned and downtrodden as Chuck, show the realities of real depression and conflict so convincingly.  Westwick has had little chance to show this kind of range elsewhere:  ABC's disastrous Wicked City, in spite of its period fascination and rather gimmicky "edge", seems like a dumbed-down, homicidal version of the same role -- the worst of Chuck, but without the soul, wounded or otherwise. Other roles have been largely in the same Bassian vein, e.g. Margin Call and J. Edgar:  named roles that would work equally well as "Guy Who Looks Good in Suits". There are likely more watchable examples, and we'll be waiting for other offerings that show off his skills, perchance his portrayal of Tybalt in the 2013 Julian Fellowes-penned adaptation of Romeo and Juliet.  There's also the hope that Snatch, the new series currently in production and slated for next year, will take hold and give us something juicy to sink our teeth into. With Rupert Grint and Dougray Scott also attached, there may be very good things to come.