Hubert Dubois is Salem’s official volunteer Halloween helper. Easily startled and frequently frightened, Hubie devotes himself to keeping the holiday safe for everyone, young and old, for which he is openly and mercilessly mocked by all.
This Halloween, armed only with good intentions and his trusty swiss army thermos, Hubie (Adam Sandler) has an extra hefty burden. He’s being bullied by some local high school kids, he suspects his neighbour Walter (Steve Buscemi) is a werewolf, and a psychotic prisoner in a pig costume is on the loose, escaped from a nearby institution. Exasperated with Hubie’s numerous reports, Sgt. Steve (Kevin James) shuts down his concerns, leaving him with only his elderly mother (June Squibb) in a series of suggestive tshirts and his childhood crush, soup-serving Violet (Julie Bowen) as allies.
As with every Adam Sandler movie, many of his friends and a great many of his family join him on set as they film on location in a very quaint-looking Salem, Massachusetts, even if the town’s lengthy history of “bullies” persists. Hubie Halloween reunites Sandler with his Happy Gilmore costar Julie Bowen 24 years after she first played his love interest, Virginia Venit (this time playing Violet Valentine, we see that Sandler’s love of alliteration and the letter V have also withstood the test of time). Also joining them from the cast of Happy Gilmore, Ben Stiller in a cameo playing the exact same character, orderly Hal.
Although Sandler’s movies for Netflix have been more miss than hit, this one is a pleasant exception. It’s just scary enough to qualify as Halloween viewing, but Sandler’s brand of low-brow humour ensures that all but the little ones will be able to watch. Does it reinvent the wheel? Not remotely; it’s merely better inflated than the flat tires his production company has been turning out for some time.
The thrills are mild, the jokes are corny, but it’s a harmless movie that might add some Halloween spirit to your household, and considering many will be refraining from trick-or-treating this year, a movie night is a nice way to celebrate in a safe and socially-distanced way. I think Hubie would approve.
It’s the day every woman dreams of since she’s a little girl: what dress you’ll wear, what flowers you’ll choose, the food you’ll serve, the heirloom hanky you’ll use to dab prettily at your eyes. Your mother’s funeral only comes once in a lifetime and you’ve got to get it right.
Sad but true: I’ll say any mean thing to get the laugh.
Anyway. For Mary Beth (Morgan Saylor) and Priscilla (Sophie Lowe) Connolly it is indeed the day of their mother’s funeral. It feels like half the small village of Easter Cove in Maine shows up for it, paying tribute to a woman everyone seems to have loved. But it doesn’t exactly go seamlessly – clearly they don’t subscribe to Martha Stewart Funerals. The non-cheap flowers arrive late, there’s too much disgusting coleslaw, and oh yeah, they kill someone. Someone else. I mean, they never murdered their mother, she died of natural causes, more or less. I’m talking someone ELSE. A bad dude who we wouldn’t really feel too bad about killing except his death, and well, the concealment thereof, leads to the sisters uncovering some pretty shady stuff in their home town.
Directors Bridget Savage Cole and Danielle Krudy delight in pulling up the respectable if threadbare rug to reveal not gleaming hard wood but black mould asbestos. Oh yes, there’s major rot to this picturesque little town, and behind every white picket fence is another secret being kept. Mary Beth and Priscilla have pulled a thread which threatens to unravel even the heaviest fisherman’s sweater.
This movie is oddly funny, in the blackest sense, establishing a real sense of atmosphere. Details are meted out like a sparse trail of breadcrumbs, each one a small but perfect moment, supported by a smart script and plenty of terrific performances.
Toy Story movies have always been darker than people give them credit for. In the first film, Buzz believes himself to be a hero stranded in a hostile environment. Turns out, he’s just a toy – everything he thought was real is a lie. He exists to be someone’s plaything, and Woody and the gang convince him that there’s dignity and even nobility in this fate, even if it strikes you and I as a kind of slavery, to exist merely at someone else’s whim, until you’re all used up, and then you’re disposed of. What a dizzying and disorienting concept; it’s no wonder Buzz literally gets depressed when he learns his true nature. In the second film, Woody literally contemplates his own mortality. His benevolent master Andy will one day tire of him, and worthless, he’ll be discarded. His friend Jessie really hammers this home with a heart-wrenching flashback of being abandoned at the side of a road by someone who once claimed to love her. Ultimately, Woody chooses to live as a toy rather than achieving a sort of immortality as a collector’s item; he’ll have a short but meaningful life rather than a long but insignificant one. What a choice. In the third film, Woody and the gang face the consequence of this choice: Andy goes off to college, and eventual abandonment becomes actual abandonment. Not only that, but the best friends are being separated, with Woody being doomed to spend his twilight years alone on Andy’s shelf, no longer a useful, loved plaything, but a mere relic of his past. Meanwhile, his friends are going to molder up in the dark oblivion of an attic. What cold comfort. Luckily, the toys are instead given to a little girl named Bonnie to live out a happy afterlife. Cue the fourth film.
Woody (Tom Hanks) and pals are having a grand old time being played with by Bonnie. Sure, the little girl prefers cowgirl Jessie (Joan Cusack) over cowboy Woody just a tad, but still, it’s a good life, no complaints. Bonnie is starting kindergarten soon, and at an orientation session, she shows some initiative (fancy term for not following instructions) and makes herself a toy out of trash rather than a pencil cup out of art supplies. She brings her cherished new friend home and gives him a place of honour among toys. “Forky” is no more than a spork, some googly eyes, a pipe cleaner, and a broken popsicle stick, but he’s Bonnie’s new best friend, so Woody vows to keep them together at all costs. That’s going to be a problematic promise because a) Bonnie’s family is embarking on an RV roadtrip and b) Forky has some suicidal tendencies. Forky was never supposed to be a toy, you see. He’s trash. He knows he’s trash. Rather simple-minded and fairly spooked, all he wants more than anything in the world is to be trash once again, which is where he keeps launching himself. Woody keeps dutifully fishing him out, but one of these times he’s bound to get thrown out for good. It’s on one such rescue mission that Woody encounters an antique store where he thinks he may find an old friend/lost toy/love interest, Bo Peep (Annie Potts). We haven’t seen Bo Peep since the second movie, which was 20 years ago. Where has she been this whole time?
Bo’s been living free and wild as a toy with no owner. That’s essentially Woody’s worst nightmare but she makes it sound rather grand. Besides, Woody has a new worst nightmare: another antique store occupant, vintage doll Gabby Gabby wants his voicebox and she’s prepared to rip the stuffing out of his chest to get it. Yikes!
Structurallly, this fourth installment plays out a lot like those that came before it. There’s always some kind of separation, and then some kind of secondary rescue mission when the first one fails. These toys sure do get themselves into some high-stakes situations on an alarming basis!
It’s wonderful to see the cast of old friends: Bo looks shinier than ever, and Jessie’s hair has never looked yarnier. The animation on these films started out innovative and has only improved. And new friends are a hoot and a half: Forky (Tony Hale) is a walking, talking existential crisis, but the rendering of his pipe cleaner is photo realistic. Gabby Gabby (Christina Hendricks) was a dollie defective right out of the box, and her resulting failure to bond has really warped her. Duke Caboom (Keanu Reeves) is a Canadian daredevil who never lived up to his promise; he is haunted by his past, and by the kid who resoundingly rejected him. Ducky (Keegan-Michael Key) and Bunny (Jordan Peele) are two brightly-coloured stuffed animals attached at the hands. They’ve been unredeemed carnival prizes for far too long, and are a little unhinged. Officer Giggle McDimples, Giggs for short (Ally Maki), may look precious and pocket-sized, but she’s a force to be reckoned with, and fiercely protective of her road warrior partner, Bo Peep. All these new toys will come together in surprising ways to give our pal Woody one last big adventure.
Coming full circle with the original film in the franchise which was released 24 years ago, Toy Story 4 has Woody once again paired with a toy who does not believe himself to be a toy. Woody’s experiences with Andy, and now with Bonnie, position him to a real advocate for finding and fulfilling one’s purpose and embracing one’s destiny. Heartwarming and heartbreaking in almost equal measure (I cried twice before the opening credits were over, and then alllllll the way home), Toy Story 4 more than justifies its existence. But after the perfect send-off in #3, is #4 a necessary or worthy addition? As much as I looked forward to connecting with these characters again, I surprise myself by saying no. Toy Story 4 is a good movie, an entertaining one, a very sweet one, but I can’t help but wish they’d left it at a trilogy so that we could have one perfect, shiny thing in our lives.
In the summer of 2003, Jamie is 16, and her grandmother is dying. Don’t feel too bad about it, Grandma (June Squibb) is a bit of a bitch. On her deathbed, she confesses to Jamie that she had her secretly baptized as a child (Jamie’s mother is Jewish). She also imparts a very important last piece of advice: learn how to give a good blow job.
How surprised would you be to learn that Jamie learned a way to combine those two tidbits? More on that in a minute. First: Grandma had some bombs to drop for other family members as well, so everyone’s reeling. Big time. Total shit show. And yet Jamie’s evil-Jew mom is still in charge of planning the funeral. So much fun for her! First you live under your mother in law’s tyranny and disapproval for years, then she confirms her hatred for you and disrespect for your culture and religion…and then she dies and you get to clean up the mess. Families are the best. And sixteen year olds are so well-equipped to deal with the drama!
Yeah so anyway, Jamie (Joey King) decides to check out this whole being a secret half-Christian thing, and she goes to church where she actually ends up checking out the hot, young, priest-in training, Luke (Jack Kilmer). He’s about as many days away from being ordained and super duper officially off the market as Grandma is from being buried, and yet Jamie thinks it’s a good idea to use Grandma’s second piece of advice on him. And he’s so committed to God he goes along with it. Haha, “goes along with it” like he’s not a guy with a condom in his pocket like any other – eager to stick it in, not so eager to reciprocate. Romantic.
Writer-director Becca Gleason is offering up her story, alarmingly “based on true events.” Jamie is believably self-centered and short-sighted, but Becca should have the powers of hindsight, and in fact, 15 years worth of precious insight, so it’s a little disappointing that her main character still feels a little flimsy. Anger, grief, and a teenaged identity crisis. So it never quite jumps the tracks from your typical teenage film. It’s an odd enough story you might want to tune in anyway.
I sort of wonder if this is an oddball comedy or just a comedy filled with oddballs. It IS filled with oddballs, that’s the premise. Eloise (Anna Kendrick) is the ex-maid of honour at her best friend’s wedding. Having recently been broken up with the bride’s brother\best man, she knows she shouldn’t be there but to prove a point she RSVPs yes, and as a reward for her bravery, she gets seated at dreaded table 19 with all the other losers and rejects who should have known better.
The table 19 crew: Bina & Jerry Kemp (Lisa Kudrow, Craig Robinson) who are diner owners who don’t know the bride or groom personally, and barely know each other anymore; Renzo (Tony Revolori), a young kid who’s mother told him he stood a better chance of picking up at this wedding than at his junior prom; cousin Walter (Stephen Merchant), newly out of prison for having embezzled from the bride’s father; and Nanny Jo (June Squibb) who was basically a retaliation invite.
They’re a gang of misfits and the wedding is doomed for them. The critics have doomed Table 19 entirely, but I thought it had its charms. There’s certainly a lot of sympathy for the odd ducks of the world, and the performances are pretty winning (Squibb and Merchant being favourites). Some of the gags are tired but it’s kind of nice to see the weirdos normally relegated to the background have a moment in the spotlight. A Mumblecore film more concerned with characters and dialogue than plot, this movie isn’t going to light the world on fire. But like any wedding, it can be made tolerable with an open bar.