Tag Archives: Jason Sudeikis

10 Of The Most Wholesome Ted Lasso Episodes

Ted Lasso first premiered on Apple TV in the summer of 2020 and proved to be the dose of wholesome goodness you didn’t know you needed. Though his home, marriage, and career were all in transition, Ted’s unrelentingly positive attitude was just what the doctor ordered.

Starring Jason Sudeikis as the mustachioed eponymous protagonist, an American football coach turned British soccer coach, Ted Lasso makes up for lack of knowledge with can-do enthusiasm and zeal. His fish-out-of-water antics and his unconventional approach to sports are served with an aw-shucks grin and a penchant for deflecting compliments. Ted Lasso is positively irresistible, and these ten hopelessly wholesome episodes are guaranteed to make you feel all the feels.

‘Ted Lasso’ Season One, Episode Two “Biscuits”

Jason Sudeikis and Brendan Hunt star in Apple TV's Ted Lasso as Ted and Coach Beard, friends and football coaches standing in front of some red telephone boxes

Ted wakes up cheerfully on this first day of coaching, undeterred if not quite oblivious to skeptical/openly hostile fans. If Ted’s rose-colored lifestyle has a price, the only reason he’s never paid it is thanks to his faithful assistant coach, Beard (Brendan Hunt), a constant source of silent support and subtle intervention.

Beard has followed Ted from Kansas all the way to London, and it’s clear these two have a deep and abiding friendship. Though Beard is quietly observant in direct contrast to Ted’s exuberance, they share an intimacy rarely seen between men on television. They communicate with single words where raised eyebrows and slight nods fail them, but their shared history is evident in every beer they share. They don’t necessarily need to talk about it, but Ted and Beard are always there for each other.

‘Ted Lasso’ Season One, Episode Three “Trent Crimm: The Independent”

Jason Sudeikis and James Lance from Apple TV Ted Lasso season one episode  three trent crimm the independent

AFC Richmond club owner Rebecca (Hannah Waddingham) hires humourless reporter Trent Crimm to write a piece she hopes will damage Ted’s reputation. However, a day spent at Ted’s side wins over the intrepid reporter, and Crimm (James Lance) admits to his readers that Ted may not be the strongest coach, but he will root for him nonetheless.

The British press is notoriously aggressive and intrusive, and as a natural skeptic, Crimm is predisposed to find Ted’s buoyant benevolence particularly distasteful, not to mention suspicious. However, sitting across from the Kansan literally sweating through his first taste of curry, too polite to admit defeat, Crimm realizes that he’s been underestimating Ted, who is something no one expected: genuine.

‘Ted Lasso’ Season One, Episode Four “For The Children”

Apple TV Ted Lasso Juno Temple and Hannah Waddingham on the red carpet fundraiser for the children

It’s the annual charity fundraiser, and the AFC Richmond bachelors, including superstar and superego Jamie Tartt, are up on the auction block. Rebecca is flustered hosting this without her ex-husband, but her red-carpet jitters are dispelled by Tartt’s girlfriend Keeley (Juno Temple), who teaches her to strut her stuff.

Rebecca and Keeley are two highly successful women, and where normal TV tropes would establish them as catty rivals, these two bond, propping each other up and forming a supportive friendship. Reality TV loves to show women tearing each other down, but Rebecca and Keeley know there’s room for more than one at the top, and they take turns bolstering each other on the way up.

‘Ted Lasso’ Season One, Episode Seven “Make Rebecca Great Again”

Ted Lasso Keeley and Rebecca girls trip female friendship Juno Temple and Hannah Waddingham in hotel bathrobes

The team hits the road for an away game in Liverpool. Ted runs a respectable ship, so he gives the guys two options: movie night or pillow fight (the guys are later seen weeping over The Iron Giant). Rebecca and Keeley, meanwhile, are enjoying more of a girls’ night, but they all meet up after the game for “the great Asian pastime of karaoke.”

Rebecca wows everyone singing the theme from Frozen, an apt soundtrack for this ice queen’s thawing heart, melting under Ted’s unrelenting warmth. There’s no better evidence of this than when she steps out of karaoke to help comfort Ted through a panic attack. Mental health is addressed thoughtfully throughout Ted Lasso, and though Ted is reluctant to show cracks in his constitution, they allow others to step up and extend to him the same empathy and understanding that he consistently projects himself.

‘Ted Lasso’ Season One, Episode Eight “The Diamond Dogs”

Roy Kent and Keeley are dating and Roy needs the Diamond Dogs including Ted Lasso, Coach Beard, Nate and Higgins, to give him some romantic advice. Juno Temple and Brett Goldstein walking.

Gruff team captain Roy Kent (Brett Goldstein) has real feelings for Keeley but can’t help picturing her ex-boyfriend who just happens to be his own arch-nemesis, Jamie Tartt (Phil Dunster). Luckily, The Diamond Dogs (Ted, Beard, Nate and Higgins) have assembled once again to provide a safe space to share feelings and offer support.

This brand of male friendship is rarely shown on television: honest, sensitive, and encouraging. The Diamond Dogs’ main goal isn’t even to solve problems; simply being there for each other is enough. Ted has routinely encouraged team bonding through shared joy, but in this episode, viewers discover that shared burdens and shared grief are just as effective.

‘Ted Lasso’ Season Two, Episode Three “Do The Rightest Thing”

Ted Lasso welcomes Jamie Tart back to AFC Richmond. Jason Sudeikis and Phil Dunster grab a pint in the local pub.

Jamie Tartt, traded last season to Manchester United, and more recently a failed reality television star, returns to AFC Richmond, tail between his legs. Jamie’s poor treatment of his teammates, however, has burned a lot of bridges. Ted surprises the team by welcoming him back despite their protests.

Although Ted hesitates when sensitive Sam (Toheeb Jimoh) approaches him with valid and logical reasons why Jamie should be sent away, Sam is ultimately the reason Ted decides to keep Jamie on. Sam has a close and caring relationship with his father, and Ted recognizes that Jamie’s self-conceit is really a defense mechanism to mask insecurities sowed by an abusive father. Without explicitly saying so, the viewer knows Ted hopes to be a positive role model, and perhaps even a father figure, to a young man concealing a great deal of pain.

‘Ted Lasso’ Season Two, Episode Four “Carol of The Bells”

Ted Lasso Christmas episode carol of the bells Nate, Higgins and Jamie Tartt gift exchange. Phil Dunster, Nick Mohammed and Jeremy Swift in party hats.

Every year at Christmas, Higgins (Jeremy Swift) and his family open their home to players far from home, and sometimes a couple of them even show up. This year, however, all of them show up. The Higgins home overflows with hungry, homesick footballers.

This Christmas episode may have aired in the summer, but it still filled viewers with warmth and good cheer. Higgins’ full house shows just how united this year’s team has become, and demonstrates how the players have come to internalize Ted’s emphasis on shared joy and celebration.

‘Ted Lasso’ Season Two, Episode Eight “Man City”

ted lasso season two man city doctor sharon sarah niles rides her bike before her bike accident

This season discovers the team’s new psychologist, Doctor Sharon (Sarah Niles), is the one person immune to Ted’s charm. Undiscouraged, Ted has waged a campaign of kindness, but it isn’t until the good Doctor has an accident that the two really bond.

Doctor Sharon learns that revealing her own vulnerabilities encourages others to do the same. She is ultimately rewarded when Ted breaks through his chipper veneer and the source of his panic attacks is finally divulged.

‘Ted Lasso’ Season Two, Episode Eleven “Midnight Train to Royston”

brett goldstein and juno temple ted lasso season two roy kent and keeley vanity fair photo shoot interview best boyfriend ever

Ted Lasso has persistently chipped away at Roy Kent’s rough exterior to expose a doting uncle and a devoted boyfriend. When Keeley confesses that Nate has kissed her, Roy focuses on Keeley’s feelings, sympathizing with what must have been an awkward encounter for her. When she’s feeling vulnerable before her first big interview as a businesswoman rather than a model, he hypes her up and reminds her of her fierceness.

Roy Kent, retired football legend turned coach, is teaching men how to be better. He reaches through the television and models what a modern boyfriend should look like: he owns his vulnerability; he has healthy, platonic female friendships; he wants women to know their worth. As the antidote to toxic masculinity, Roy isn’t just the sexy beast women wish they could date; he’s the guy other men aspire to be.

‘Ted Lasso’ Season Two, Episode Twelve “Inverting The Pyramid of Success”

ted lasso season two inverting the pyramid of success afc richmond team taps the believe sign in locker room during halftime

In the season two finale, we see many of Ted’s lessons come to fruition. Roy chooses to forgive. Sam chooses to stay. Jamie chooses to pass the game winner to Dani. Team captain Isaac chooses to forgo the usual team huddle and instead tap the Believe sign.

All of these contribute to the show’s recurring theme of choices made from the heart. On the football pitch, we can easily see how choices affect not just one individual, but the whole team. Games are won or lost together; success is measured in teamwork. This is what Ted has given them: the sense that the outcome doesn’t matter so much as the fact that it is shared.

NEXT: 10 Funny Ted Lasso Quotes To Live Your Life By

The Angry Birds Movie 2

The people (birds) of Bird Island have been deeply engaged in an epic prank war with the people (pigs) of neighbouring Pig Island. But then an actual serious threat arrives from a third island, which has the pigs’ King Leonard (Bill Hader) calling for a truce so the two frenemy nations can discuss. Red (Jason Sudeikis), however, isn’t into truces. He’s the bird who gained popularity last movie when he saved the birds’ eggs from the evil green piggies. He’s afraid that a truce would make him irrelevant, and worse, unpopular.

But the threat is real, y’all. Purple-feathered tyrant Zeta (Leslie Jones) from Eagle Island is tired of living on the cold island. Birds and pigs are going to have to band together to overcome the threat together. Only problem: both Red and Leonard are reluctant to give up alpha status. Red is terrified if no longer being needed. But things are a little more complicated than the bill we’re being sold.

The movie hits all the cute notes the first one was known for: bright characters, great voices, zany antics. Plus pigs and flightless birds breaking out into dance almost constantly to crazy catchy pop songs. That’s literally all an animated film needs to be popular with kids. Angry Birds knows it. It’s undemanding, at times even unthinking, but it harnesses a charming chaotic energy that moves along so agreeably and so quickly you’ll hardly have time to think, let alone be bored. Fire! Ice! Lava injectors! Smells like bacon! Urinal hijinks and pigs in spandex: it doesn’t make a lot of sense but you wouldn’t be watching the sequel of a movie based on an app if you cared about logic in plot.

The voice talent is wonderful though it’s growing so exponentially it’s hard to give everyone their due. The animation seems to have leveled up since its last foray, if you bother to look past the garish colours and frenetic action. The sight gags are almost as frequent as the pop songs which means brainless or not, this movie is light-hearted fun.

And on a personal note, I get that Zeta is supposed to be the villain here, but as a Canadian living in my own wintry wasteland, I get you, girl. You just want to get some sun on your buns. But we could have avoided all this violence and mayhem if you did as Canadians do and buy a ticket to Mexico. Did I mention we’re going to Mexico next week? Feliz navidad, bitches.

Hall Pass

90% of Hall Pass is me cringing at things that were questionable at best in 2011 but in 2019 are grounds for cancelling. Was there ever a time when I thought Fred (Jason Sudeikis) and Rick (Owen Wilson) were basically “good guys”?

They’re a couple of married, middle-aged guys who still act like hound dogs. Rick can’t stop ogling women and Fred likes to masturbate in his car. They act like their wives are the mean gatekeepers between them and mounds of lust-filled sex. Tired of this gross imbalance, their wives Maggie (Jenna Fischer) and Grace (Christina Applegate) give them each a hall pass: a whole week to live like their single, to do what they want, to fuck whomever they want, no questions asked. Sound like heaven?

The truth is, Fred and Rick are lucky to have landed and locked down their wives when they did. They do not deserve them. But freed of them, it suddenly becomes embarrassingly clear that there isn’t heaps of pussy out there waiting for them. Nobody wants a couple of old farts in golf sweaters and mini-vans. But just as they’re starting to learn their lesson, and they’re men so you know I’m talking day 6 of 7 cause it took a minute, it finally occurs to them to wonder what their wives are up to.

Anyway, Bobby and Peter Farrelly have taken the concept ‘men are pigs’ and leaned in. Did the world need another example of male infantalism? Of course not. And yet here we are, struggling to figure out which is worse – the boys’ desperate need to get laid, or the Farrellys’ desperate search for laughs.

Booksmart

It’s the last day of school, and best friends Molly (Beanie Feldstein) and Amy (Kaitlyn Dever) are ready to bid high school goodbye. They’ve been serious students, buttoned down and focused, and their hard work has paid off: they’re off to Yale and Columbia respectively. But their pride is tamped down a little when they learn that that many of their classmates are also headed for the Ivies – this despite the fact that they rarely seemed studious, and made lots of time for parties and fun. “I’m incredible at hand-jobs but I also got a 1560 on the SATs,” says one.

Molly is particularly devastated; sure she’s the valedictorian, but did she sacrifice fun for nothing? She doesn’t want to show up at college in the fall a party virgin. Her whole worldview is sliding down a crap chute, and her instinct is to dive in after it. Luckily, they have one last night before graduation, and Amy’s departure for a summer of volunteering in Botswana. One night to make up for 4 years of skipping parties and feeling left out of the in-crowd. They set their sights on Nick’s party – the most effortlessly popular kid in school (played by Mason Gooding, son of Cuba Gooding Jr).

The ladies do not get from point A to point B without boatloads (and sometimes they are literal boatloads) of shenanigans. This is Superbad, only because it’s girls, it’s much smarter. And it seems like this one night of trying to party teaches them more about themselves than the previous four years of high school. That sounds about right, doesn’t it?

The movie gets so much right even as we learn how much the girls have gotten wrong. Molly always assumed she was purposely excluded, but it turns out these kids are all too happy to greet her socially; her exile was self-imposed. How maddening, isn’t it, to discover that too late – and a good reminder for us all to check in with ourselves. How often do we impose our own limitations? Amy tackles her fears while Molly checks her ego, and her assumptions. The two women in the lead have amazing chemistry and it’s a lot of fun to witness the particular dynamic of their friendship. You and I know that college will test the bonds of their friendship, and inevitably change it if not crush it outright. They’re starting to have inklings that this might be so. So this last night out has some tangible pressure to it. Beanie Feldstein is a cinematic lantern, lighting up every screen she’s on, and lighting the way for others. Kaitlyn Dever is an excelling pairing for her, able to play off her energy in a more conservative and subdued way, while still holding her own.

Olivia Wilde tries out the director’s chair and seems to find it a pretty comfortable fit. She’s got an eye for letting actors do their thing; so much of the best bits feel spontaneous and are the best kind of weird. She’s also got an amazing feel for music – she introduces characters and themes with pop songs, and it really took me back. I bet most of us can come up with a soundtrack of our own high school experience. Music is such an important part of that time in our lives. I still surround myself by music constantly, but I will never again spend the day on my bedroom floor inhaling lyric booklets, or spend hours recording stuff off MTV like I did then. I know which songs I kissed to, slow-danced to, had sex to. Which ones we played on repeat as we drove recklessly and restlessly around parking lots doing donuts, which ones played at the diner as we split an order of fries, which ones we cried to when boys were mean to us, which ones accompanies us down the aisle at our own graduations and commencements. Wilde seems to have an intuitive sense of that, and I caught it.

There’s a theme in Booksmart that is hinted at but never spoken of: class. As in economic and social class. Molly points out the school’s 1% (Billie Lourd and Skyler Gisondo, whom Sean finds uproariously funny), but it’s clear that the Los Angeles high school as affluent as heck. Everyone, it seems, except for Molly. Not a single thing is ever said about it, but we see that she lives in an apartment building while everyone else has a McMansion, and her parents are absent from the film. So when Molly discovers that all her other classmates also got into good schools, she berates herself for having skipped the fun when she didn’t have to. But you and I know that she probably did: that kids like Molly have to earn their way in, but kids from rich families do not. They have legacy status, they know alumni who can pull strings. Their families donate money to schools. And, as we’ve seen in the news recently, they pay money to fake their way in on a little-used athletic scholarship or some other fraudulent means. College admissions are not the meritocracy we want to believe they are. There are very valid reasons why Molly worked so hard and others did not, even if the film never states them. So maybe Molly’s takeaway was to loosen up a bit, and experience life, which are not bad lessons. But for us, it’s a little bit more than that.

Even with these subtle layers, Booksmart never stops being fun. The cast is lively and diverse, the tropes are thankfully on the unexpected side, and the movie has a great pace. Plus it has an exception friendship at its centre. Just when you think we’ve said all there is to say about high school, Boomsmart is a charming, genuine and clever addition to the field.

TIFF18: Driven

Jim Hoffman is a family man and cocky arse whose greed has him punching just above his pay grade. One day this gets him into trouble – the plane he’s just used to pilot his family to Disney World is stuffed full of cocaine, and Jim (Jason Sudeikis) is busted as his wife (Judy Greer) and kids look on. But the FBI handler (Corey Stoll) gives him an out: if he’s willing to go undercover and help take down bigger fish than himself, he can avoid prison and maybe even keep his family in the lifestyle to which they’ve become accustomed.

He accepts and they get relocated, which means there’s almost a full minute before Jim is plotting again. Turns out, his new neighbour is none other than John DeLorean (Lee Pace) and Jim sees nothing but opportunity. Which is too bad because you get the sense that there may have been genuine friendship here if Jim wasn’t such a selfish ahole. So just as John is designing and funding and marketing the famous gull-winged “car of the future” that would bear his name, Jim was plotting to entrap him. With friends like these, you don’t need enemies.

Lee Pace is wonderful of course. Even playing a quiet character, your eye naturally MV5BMTI5MzA3ZDEtNDk4Mi00OGQxLTgzMTYtYTczZDEyMTBmNjg1XkEyXkFqcGdeQXVyMTc4NDkxOA@@._V1_SY1000_SX1500_AL_gravitates to him as he steals every scene. DeLorean could turn it on when he needed to, and that charisma bleeds through Lee’s performance – it’s only thanks to Sudeikis’ presence that I remember this isn’t a documentary.

Nick Hamm’s Driven is about idealism and capitalism and what explosive, misinformed things can happen when the two are combined. It also makes you think about the nature of good and evil, and who the true heroes and villains of this (true) story are, if indeed there are any of either. But most of all it makes you think of what this movie would be like if it was better. Acting aside, this movie is just kind of meh. It describes itself as an ‘intense thriller’ but that’s a pile of baloney. It’s funny, if anything, but not quite a comedy. It’s not consistently anything. It suffers from a lack of identity. Possibly it only skates by because the story is interesting, but long enough ago that we’ve forgotten it, with an iconic piece of pop culture at its centre to orient us. For Lee Pace alone, Driven is worth checking out eventually, but this is one you can afford to skip at the theatre.

Kodachrome

Matt is an A&R guy at a music label but he doesn’t have many As in his R, so he’s on his last legs. It’s a particularly bad time for his dad to be dying, but Ben has never been a thoughtful father, so why start now? Ben’s nurse\assistant insists that the liver cancer is determined to kill him, and Ben’s last wish is that his son drive him to Kansas to have some rolls of film developed. So, in the last days of kodachrome, Matt (Jason Sudeikis) and Ben (Ed Harris) hit the open road in an “analog” car – just a desperate man, his estranged father, and the nurse (Elizabeth Olsen) who judges him for it. Fun times!

kodachrome

I have a real problem with movies about shitty fathers seeking redemption when the timing’s convenient, and I bet you can guess why. Good thing the acting’s real solid, or else my barf mechanisms would have been unforgivably activated. Instead they went for my tear ducts, but they did not succeed. And Bell commercials succeed, for chocolate’s sake! It is NOT that hard. But aside from the Harris-Sudeikis team, this movie was so paint by numbers I’m like 98% certain Bob Ross rolled over in his grave. And I’m only 30% certain he’s dead! [I just Googled it – he is]

Anyway, I sort of thought I’d like this film but never got there. Turns out, I’m not sentimental about obsolete photography or deadbeat dads. It’s the movie version of a guy in a fedora: trying too damn hard. Trying too hard to be a ‘festival favourite’. Instead it’s just a Netflix nonevent with good intentions and zero originality. I haven’t quite reached my word count so doobidy boobidy dunk. Kodachrome’s got no junk in its trunk. The end: a review by Jay.

 

SXSW: The Remix

Sean and I loved SXSW so much last year that we’re headed back again this year, and this time we’re staying for the whole 10 days – because at the very least, the rain in Austin is warmer than the rain in Ottawa. Last year we saw lots of great movies, but it’s hard to beat the adrenaline thrill of seeing Baby Driver‘s world premiere with Edgar Wright in attendance. Of course, this year we’ve got Wes Anderson’s Isle of Dogs closing the festival down. Along with Taika Waititi, that’s my top three favourite directors right there, so I’m kind of in heaven.

SXSW is not just a movie festival – in fact, it’s not even primarily a movie festival. It’s actually the world’s coolest music festival that has just grown and grown and grown, to include movies, gaming, comedy, and a whole bunch of conferences and panels and networking events that are 100% not lame at all. This year’s not-to-miss speakers include Darren Aronofsky, Melinda Gates, Barry Jenkins, Ernest Cline (author of Ready Player One!) and Bernie Sanders. There’s a documentary called The Director and The Jedi being screened that’s about Rian Johnson’s process – both he and Mark Hamill will be in attendance. The cast of This Is Us is doing a panel discussion which will almost certainly melt my face off.

But what’s really REALLY cool about SXSW is the stuff you do in between all the talks and movie premieres. Last year there was Breaking Bad\Better Call Saul event where they recreated Los Pollos Hermanos. Not only could you go inside the restaurant, you could sit and order and eat real food. Saul’s car was parked out front, and both Bob Odenkirk and Giancarlo Esposito were there. This year there will be a Roseanne pop up that includes the Lanford Lunch Pail serving their infamous loose meat sandwiches, the iconic Roseanne couch and living room, and even Dan’s garage.

AMC is celebrating their new show The Terror by inviting us to  enter the Arctic as the real-life crew of this ill-fated expedition. The fully immersive, multi-sensory experience offers guests a first-hand look as a crew member aboard the ship’s disastrous trip through the desolate polar landscape. Guests will feel the bone-chilling air, smell the fear and despair and hear the horrific sounds of men fighting for their survival. So, fun times.

HBO is building the entire town of Sweetwater to celebrate Westworld where we’ll be given either a white hat or a black hat (depending on an interview selection process) before entering the 2 acre theme park and having a drink at the Mariposa Saloon. Evan Rachel Wood, Thandie Newton, Jeffrey Wright, and James Marsden will be on hand.

Showtime is toasting Shameless with a pop-up Alibi Bar where stars Shanola Hampton and Steve Howey will be serving drinks. Which reminds me – last year we were served by Jason Sudeikis – he played a bartender in Colossal, which screened at the festival.

Viceland is bringing a party bus and baby goats. C’mon!

And believe it or not we’re going to squeeze in some movies between all this! Director Mélanie Laurent is hosting the world premiere of Galveston, starring Ben Foster and Elle Fanning as a hitman and a prostitute, and who knows which is which.

Directors Tommy Pallotta and Femke Wolting made a documentary about AI called More Human Than Human and guys: THEY’RE BRINGING ROBOTS WITH THEM. So if you never hear from us again, know that we loved you all. Matt, take good care of the place. Marginally cooler\less cool, depending on your perspective: director Stephen Kijak is bring Lynyrd Skynyrd members Gary Rossington, Johnny Van Zant, and Rickey Medlocke to the premiere of his doc, If I Leave Here Tomorrow (sorry for the earworm).

Jim Gaffigan and Nick Offerman, two of my favourite funny people, have films at the festival and I’ll be trying not to fangirl myself into embarrassment.

As for shorts, you cannot miss Briar March’s Coffin Club which is a hoot to see and just a heartful of joy. And Bola Ogun’s Are We Good Parents? is a thoughtful, funny piece about sexuality and our assumptions.

And there’s also some movies we’ve already seen! We saw Lean on Pete at the Venice Film Festival in August, and Outside In at TIFF in September.

 

As always, we intend to keep our Twitter feed @assholemovies crammed full of SXSW goodies, so please do stay tuned!

Downsizing

downsizingThe world is overpopulated and in the very near future it will become untenably crowded: fact. We don’t have enough space to comfortably house all these people, we don’t have the ecosystem to support them, or enough resources to fund the lifestyles to which we have become accustomed. The rate at which these 7 + billion people consume means we are making waste and pollution like there’s no tomorrow – and if we continue doing so, there won’t be.

Luckily for fictional Matt Damon, a Norwegian scientist will come up with a revolutionary bit of science that’s going to sound nutty at first, but hear me out. He calls it downsizing. A medical procedure will taking a willing human being and shrink him down, to about 5 inches. These small people will live in small towns – dollhouses, practically, taking up little space, generating little waste. A typical person might liquidate all his assets, pay off all his debts, and find that the $150 000 he’s left with is equivalent to about $12 million in the small world. Live like a millionaire by becoming a fraction of your former self!

Occupational therapist Paul (Matt Damon) and his wife Audrey (Kristen Wiig) are the kind of people to whom this kind of deal appeals. They work but never seem to get ahead. Sure this downsizing is billed as a way to save the earth, but it’s also a way to personally wipe the slate clean, and live the life you could only dream of as a normally-sized person.

As you can imagine, being only 5 inches tall comes with perks, but also some drawbacks. As writer-director Alexander Payne imagines it, there are social and economic impacts to all these people retiring from “normal” society. Illegal immigration and terrorism are facilitated. Downsizing can be used as punishment, against someone’s will. And even if you’re one of those people living in luxury, you’re suddenly vulnerable to insects, birds, even high winds.

Downsizing is a well-timed satire, science-fiction that manages not to feel too fictiony. Credit Payne’s wit for packing as much detail as he does, and if sci-fi feels a little outside the wheelhouse of the guy who did Sideways and Nebraska, he actually manages it with a lot of humour and humanity. Though the film is at times unabashedly absurdist, it stays away from easy sight gags. This is a thinking film that abounds with ideas – you’ll need to digest afterward. It’s an indictment of the American dream, people so disenfranchised that they’re willing to undergo a risky procedure just to find fulfillment. But miniaturization isn’t really the answer it’s cracked up to be, with people’s problems seeming shrinking down to follow them.

Matt Damon is perfectly cast as a nice guy who’s just a bit of a loser. But for Sean, it was Christoph Waltz as his playboy neighbour who really stole the show. He plays a Serbian sleazeball who figures that what the small community needs is a small black market, and he’s there to profit. I, on the other hand, was blown away by Hong Chau as his cleaner, Gong Jiang, a one-legged Vietnamese dissident who shows Paul there’s more to life than just keeping up with the Jason Sudeikises (he’s the classmate at his high school reunion who inspired Paul to go for the Big Shrink). When Oscar season starts heating up, I hope her name is mentioned.

Downsizing is a unique film with a lot of style. Despite being the opening night film here at the Venice Film Festival, it likely won’t be a best-picture contender for me, but it’s a film full of ideas that I found immensely enjoyable.

The Book of Love

Truth bomb: I came upon this movie only because my friend Justin couldn’t stand it. And he tried. I mean, he watched a full 57 minutes, sweating profusely, pausing often to debrief his pain. The cause: Maisie Williams’ uneven accent. He couldn’t hack it. He also couldn’t place it. And good friend that he is, he thought I should have the chance to crack it. Since the film is set in New Orleans, I believe Cajun is the accent she was after. And since I don’t watch Game of Thrones (and Justin does), it wasn’t quite so jarring to me. But still kind of jarring. And hers isn’t the only one.

The premise: Jason Sudeikis plays a widower who works through his grief by a) growing a beard and b) befriending a troubled teenage girl (Williams) and helping her to build a raft out of garbage which she will then use to sail to the Azores. From New Orleans. Not symbolically.

Smothered with grief or not, I think it’s mostly understood that grown-ups are not allowed to help kids with projects that will certainly kill them. Right? But let’s cut poor Jason Sudeikis some slack. We’re not just talking about a dead wife, but one of those elusive COOL wives, the ones you don’t secretly loathe. His wife (Jessica Biel) was The Shit. Through extensive flash backs we learn that she was a manic pixie dream girl, except attainable, apparently. Way better than your wife. She was never not being crazy-awesome-cool. So it stung poor Jason Sudeikis really hard, guys. Really hard. It annoyed the fuck out of me, her constant perfection.

But anyway. If you’re a better person than I (and let’s face it, you likely are), this movie is about two people finding each other when they’re each at peak hurt and need. So that’s nice. Justin Timberlake does the music, which (sorry Jessica) is probably the only reason his wife gets asked to be in anything. The title of the movie is completely nonsensical except for the fact that they do play the song of the same name at some point. My sister danced to that song at her wedding, the Peter Gabriel version anyway.

Verdict. Don’t watch if you’re sensitive about accents. Do watch if you’ve just lost your Ultra Jiggy wife and you’re looking for reckless-child-endangerment ways to get over her. For the rest of you: it’s an okay watch. It doesn’t pack the emotional punch that it probably should, but hey: finally a movie about a dead wife and an orphaned kid where the box of kleenex is unnecessary!

Tumbledown

Hannah is deep in mourning for her husband. Her grief is complicated by the many strangers who share in it; he was a folk singer of some renown, perhaps memorialized more for his mysterious and untimely death than for his single album of songs. Friends and family think Hannah should be moving on but she’s frozen, paralyzed by the stores of love she has unused. She thinks the only way to exorcise his ghost is to write his biography, but it turns out it’s hard to write about the man you’re still in love with, in awe of, and angry at, for having left you.

MV5BMzcyODA4NDA2MF5BMl5BanBnXkFtZTgwMTE1MjU2NzE@._V1_Hannah (Rebecca Hall) has avoided fans and journalists alike but relents for Andrew (a bearded and bespectacled Jason Sudeikis), a brash professor in search of a tenure-assuring topic for his thesis. This reclusive, rarely written about musician fits the bill. And Hannah thinks working with Andrew will bolster her own writing. So they hunker down in a little cabin in the woods and set to work, pretending that their purposes aren’t at odds with each other.

I enjoyed this, the rawness of grief, the fallacy of closure, the importance of legacy, the obstacles to moving on. It felt sweet and tender. But it wasn’t spectacular. The two leads lack chemistry. And for a movie about the legend of a dead folk singer, there was a notable dearth of music. And though Hannah tells us that his death was the least interesting thing about him, we have to take her word for it, never learning much about him, not even the truth behind his sudden death. So there’s a third character who’s a third wheel in this odd romance, and he truly is a ghost. Without establishing his worth, we can’t really tell if Andrew is an adversary or a milestone in moving on. Despite Tumbledown’s themes, it makes a pretty light film – light but not necessarily easy.