As a philosophical question, it’s emotionally fraught and almost unbearable to contemplate. Can you put a dollar amount on a life? You can, actually. Uncomfortably. And people have. They do it all the time. You may even know how much yours is worth in the event of your death. Will you have an insurance payout? How do insurers decide how much you’re worth? What if you have an accident? What would a court of law determine to be your worth? Lawyers wrangle over this number all the time, but I doubt anyone’s every been satisfied with their answers.
When al-Qaeda hijacked four airplanes and carried out deadly suicide attacks 9/11, the loss was astronomical and the country mourned. But as weeks and months passed, that loss began to be quantified, and it fell to someone to develop a formula that would establish a financial settlement for each of the victims. Under the formula, the families of deceased CEOs would receive more than the families of deceased janitors. It wasn’t fair, but maybe fair wasn’t the point. Maybe it wasn’t possible.
Congress hand-picked Kenneth Feinberg (Michael Keaton) to lead the September 11th Victim Compensation Fund. Armed with a calculator, he and partner Camille Biros (Amy Ryan) had the unenviable task of calculating something incalculable while looking the victims’ families in the eye and hearing their devastating stories of heartbreak and loss.
One claimant in particular (Stanley Tucci) challenges Feinberg to confront the humanity of his job, maybe for the first time in his impressive career. Worth is a story about compassion. Given its content and context, it would be easy to turn maudlin and dramatic, but Keaton keeps the whole thing in check with a restrained, stoic performance – not unemotional, but an excellent counterpoint to Tucci, who eschews melodrama in favour of simple human connection. It’s a nice movie about a tragic event. Check it out on Netflix.
The Premise: Lindy (Kate Beckinsale) suffers from Intermittent Explosive Disorder, which causes her anger, and indeed even mild annoyance, to turn into deadly violence. When provoked, she snaps, and good luck surviving her wrath as the extra cortisol makes her stronger and faster than any mere human. After a childhood spent as a lab rat, Lindy strives to live as normally as possible, experimenting with extreme shock therapy to keep her anger from detonating. But when the only man she’s ever cared for is taken from her, she’s going to embrace her inner demons in the pursuit of vengeance.
The Verdict: Jolt isn’t exactly a gem, but as an action-comedy, it’s surprisingly watchable. It depends a lot on Kate Beckinsale’s charms, but as they are indeed considerable, I didn’t mind this. The writing is sloppy but occasionally satisfactorily sardonic, and Beckinsale proves she can land a punch as well as a punchline. Yeah, it’s a little sexist (why are the shock pads stuck to her boobs?), and sure it pats itself a little too smugly on the back for being gender-bending, but the action’s there, if a little uninspired, and the character’s a lot of fun, and it’s sitting on Amazon Prime just waiting for you to give it a watch when there’s literally nothing else.
You were looking to have a cry today, weren’t you?
Sam and Tusker are driving around England in an RV, and I suppose that’s not technically the sad part, but honey, it is. The sad part is that it’s basically a farewell tour, visiting all their special spots and friends and family along the way. No one’s dying, but Tusker’s thinking about it, while he still can.
Diagnosed with dementia a couple of years ago, Tusker (Stanley Tucci) may not have a lot of good time left, and they’re determined to make the most of it. But with Tusker losing little bits at a time, every moment is tinged with sadness for Sam (Colin Firth), who is losing his great love, and with hopelessness for Tusker, who is powerless to stop it.
Supernova is a quiet and intimate movie, perfect for getting close to these characters – though maybe don’t get too attached. Tusker has a secret plan to avoid the worst of what’s coming. Writer-director Harry Macqueen allows them to explore their grief and loss in a multitude of ways. Tucci and Firth are of course the reason to watch and they’re really terrific. Tragedy is always lurking at the seams but this is really a story about time – the time they’ve shared, and the time they have left. It’s bittersweet, deeply moving, but never maudlin. The film is restrained and subtle, allowing Tucci and Firth to shine until it breaks your little heart.
During a transatlantic flight, Viktor Navorski’s eastern European country suffers a coup and simply (bureaucratically and practically) ceases to exist. Unaware, Viktor (Tom Hanks) lands at JFK eagerly awaiting an NYC vacation filled with Broadway shows and Nike shoes. Instead he finds that his passport has been revoked. He is presently not the citizen of anywhere. Airport official Frank Dixon (Stanley Tucci) cannot allow him to step onto U.S. soil but nor can they board him on a plane home. There is no home. No passport, no visa, no valid currency, and a very tenuous grasp on the English language.
Days later, Frank is very surprised to see that Viktor is still inhabiting the airport. He’d assumed Viktor would just disappear through the cracks and be somebody else’s problem. Turns out Viktor is kind of a stickler for rules.
I’d seen this movie before, of course. I don’t often miss an offering from Hanks or from director Steven Spielberg. I remembered the gist: a man trapped by circumstance in an airport. Indefinitely. Broad strokes, but I didn’t remember the fine brushstrokes delivered by a masterful performance by Hanks (is there any other kind?). I hadn’t remembered the heartache and devastation of a man learning that his country is in violent turmoil. We don’t know much of what he’s left behind: a mother or brother who worry? A home that’s being repossessed? A dog that needs to be fed? A job from which he’d be summarily dismissed, not having shown up? Instead Spielberg focuses on the life he’s building in an empty terminal of the airport: what he’s eating, where he’s sleeping, how he’s passing the time. And the friends he makes!
First it’s beautiful flight attendant Amelia (Catherine Zeta-Jones) who he often sees dashing from one flight to another. Then it’s Enrique from food services (Diego Luna), who feeds Viktor in exchange for information about Dolores (Zoe Saldana) in customer service. [And who, for extra credit, reveals that she’s a trekkie, 5 years before she’d go on to play Uhura.]
You may know that The Terminal is actually inspired by the real life events of Merhan Nasseri, an Iranian refugee. In 1988, he landed at Charles De Gaulle Airport in Paris, after being barred from entry into England, because his passport and United Nations refugee certificate had been stolen. French authorities wouldn’t let him leave the airport. He remained in Terminal One, a stateless person with nowhere else to go. He was eventually granted permission to either enter France or return to Iran but chose to continue living in the terminal and telling his story to those who would listen. He lived there until 2006. 2006! Eighteen years! He only left in 2006 because they hospitalized him (I’m not sure for what, but his mental state had certainly deteriorated). He has since lived in a Paris homeless shelter. DreamWorks paid $250K for his story though in the end they chose not to use it.
Hanks and Spielberg have collaborated what, five times now? Perhaps The Terminal is not their best, but it’s not to be discounted either. Viktor is too pure and perhaps a little too slapsticky to seem like an authentic human, but Hanks is all charm and Spielberg’s interpretation of the American dream is something to behold.
In which Sigourney Weaver proclaims herself anti-ratist, and is wrong about rat facts. You might think a mouse named Despereaux is the hero of this film but Sigourney the narrator first introduces us to Roscuro the rat (Dustin Hoffman) who is quite pleased walk fresh off the boat into a village that’s in the middle of worshiping soup, as they do annually. The royal soup smells amazing and Roscuro cannot wait to partake, but his eagerness unfortunately plops him right into the royal cauldron, and when the queen finds them there, she dies on the spot. The king, in his grief, outlaws soup. And rats. The kingdom goes gray. You might not have guessed that soup could have such a vital influence on a town’s happiness and success but there you have it. Roscuro flees into the sewers.
Which is where he eventually meets Despereaux (Matthew Broderick), a mouse unlike any other. Despereaux is bold and curious but he can’t or won’t follow the strict rules of Mouseworld where learned fear is the most important thing.
Fun Fact: Sean and I are pretty into soup. Which is admittedly a weird thing to be into. We love to cook together – I am an excellent cook and Sean is a decent helper (as long as he does grunt work like cleanup and grating cheese – he’ll chop veggies too but it takes him at least 20 minutes to fell a bell pepper). I’m on the front lines, being impressive, he’s in the background, looking for a stubborn cap to unscrew. One of our favourite things to make together is roasted red pepper soup, a recipe we’ve come to think of as our signature dish. We made it in our first apartment, accidentally splashing the walls red and murdery when the blender’s top wasn’t properly secured. We repeated the process out at the cottage one winter’s eve (minus the murder scene), with a fire roaring and big fat flakes of snow coming down outside. We loved making it so much that when we got married we insisted the chef replicate it for our wedding menu.
Fun Fact #2: Sean is also not anti-rat. He grew up with not one but two rats as pets. Pets! They let them in their house ON PURPOSE. And named them BamBam and Rocky.
So it would seem that Sean is the prime target for a movie about soup-loving rats. If not him, who? The Tale of Despereaux is like the dark side of Ratatouille (which, incidentally, is one of Sean’s favourite Pixars): what if it turns out people DON’T like rats in the kitchen? Crazy, I know, but hear me out. It’s mixed with shades of Dumbo and a touch of the Gladiator with maybe a wee bit of cursed princess, a smattering of Downton Abbey, and a sprinkle of The Three Musketeers for good measure. Which ultimately means that while the voice cast is excellent and the the film looks great, the story is familiar no matter which way you look.
Some bad movies you watch because some self-sabotaging part of your brain wonders, how bad could it really be? Some bad movies you watch because you’re too damn lazy to seek out a better one. Some bad movies you watch out of curiosity, or you’re in the mood to hate-watch something, or you don’t think the night deserves anything better. And sometimes, not often, but sometimes you’re just smart enough to avoid it. I’ve been actively choosing to not watch Burlesque since 2010, so much so that I never even realized how many of my favourite performers – Kristen Bell, Stanley Tucci, Alan Cumming – are in it. How did I come to finally watch this stinker?
This is going to sound like a stretch, but it basically comes down to our traveling to Mexico over Christmas. If you’ve ever been to an all-inclusive resort, then you know there’s a prescribed set of nightly entertainment. Five years ago, every resort had some crappy version of Broadway’s The Lion King, but I think Disney put the kibosh on that. We had a Jersey Boys night, a Pirates show, and the obligatory Michael Jackson tribute. And the resort also offered a burlesque show. We’ve seen some of the best burlesque in Las Vegas (and some of the worst). We’ve seen burlesque at Crazy Horse and the Moulin Rouge in Paris. We’ve seen some good shit, but having seen what passes for “Jersey” and “Boys” in Mexico, our expectations were appropriately tempered. We thought. What we weren’t expecting was a poor imitation of a reviled movie, but with Santa hats, and even Santa Claus. Merry Christmas eve to us!
In the movie, Ali (Christina Aguilera) is a small-town waitress who moves to L.A. to become a performer. Not a big dreamer, she seems content when she settles at Tess’s (Cher’s) burlesque bar, first as a waitress who has to prove her mettle, then as a performer that everyone else (Kristen Bell in particular) is jealous of.
The script is beyond bad. Like, there’s bad, and then if you keep going beyond bad, past terrible, past horrible even, orbiting somewhere around dreadful, you’ll find the script to Burlesque. Also, in my experience, burlesque involves some form of artsy striptease. In Burlesque, it means lip-syncing in your underwear. Possibly Xtina just can’t do two things at once. And good lord, we wouldn’t want her to.
So we’ve confirmed what we always suspected but never cared enough to validate. Burlesque is bad. Not even campy bad, not even so bad it’s good. It’s surprisingly boring for a movie that features so many beautiful women in lingerie. But you could watch a Victoria’s Secret commercial with the sound off and feel more satisfied than you will at the end of this movie. So thanks, Mexico, for piquing our interest and giving us a reason to seek out a stinker. Couldn’t have (wouldn’t have) done it without you!
This movie is production-designed within an inch of its life. Like, literally it’s clogged with lustre and decadence. I find no fault with how it looks; a good faith effort was made to pay tribute to the original, to remind us of the classic animated movie from 1991, while still forging its own little identity, diverging enough from the already-trodden path to inject it with a life of its own.
Unfortunately, none of the new material really lands. Is this just me, loyal to the film of my childhood? Sadly not. But it does pale in comparison. No matter what Bill Condon does, this film inevitably fails to capture the magic of the first. This is hardly surprising since it eschews the magic of animation. Well, traditional animation. The truth is, “live action” or not, Belle is the only human being in that castle. Yes, Ewan McGregor danced around in a motion capture suit to play Lumiere, and Dan Stevens waltzed in steel-toed 10-inch stilts for the ballroom scene, but they’re both playing CGI characters. Why hire greats like Emma Thompson, Ian McKellan, and Audra McDonald, only to hide them behind computer graphics, appearing “live” only in the last 20 seconds of the film? It seems a waste. I rather liked the live action remake of Cinderella, but then, that was always a story about humans, wasn’t it? Jungle Book (which already has been) and Lion King (which is about to be) turned into “live action” films have little to no humans in them, so what’s the point? They were MADE for animation. Let’s leave them be.
Emma Watson, as Belle, is brilliant casting. She was originally cast in La La Land but left the project to do this instead. I think it was the right choice for her. Her voice is lovely and pure, and she reminds us that Belle isn’t just beautiful, but also smart and brave. Ryan Gosling was originally cast as the Beast and left this movie to do La La Land, and I think that was the right choice for him. Dan Stevens took over the role of the beast, and he’s okay. Director Bill Condon had hoped to create a beast look out of prosthetics, and he did film it that way, but in the end he was overruled and a CGI beast face was superimposed. Kevin Kline as Belle’s father, Maurice, is a wise choice. He’s older and less of a buffoon than in the animated film, but they don’t quite make sense of the character despite adding some back story. Luke Evans has the pleasure of playing everyone’s favourite cartoon narcissist, Gaston. No longer roughly the size of a barn, he’s still the cocky, selfsure Gaston we remember. It’s his sidekick who’s less recognizable.
The animated Le Fou is nothing more than a clown. In the 2017 version, Disney is proud to proclaim him their first openly-gay character, to which I say: hmm? This was maybe the movie’s biggest let down. Le Fou does not strike me as gay. He’s the kind of closeted gay that you only know about because it was issued in a Disney press release. What little humanity he shows already makes him too good for Gaston, but no real motivation is ever ascribed to him. It’s a Disney movie, so of course there is no real sexual tension, but nor is there even the slightest hint of romance or passion. There are more lingering glances between a young girl and a horned beast than there are between these two men. Nice try, Disney, but I’m not buying it. And it’s probably not the greatest idea to tout your first and only “gay character” as this bumbling idiot who languishes with an unrequited crush on a real prick, whom he helps to hook up with women. That’s pretty condescending.
But I take it back: Le Fou is not the most disappointing thing about the movie. In my little girl heart, the biggest disappointment was The Dress. To me it looked cheap. And I’m sure it wasn’t: I’m sure that a dozen people toiled over its construction. I’ve heard it used 3,000 feet of thread, 2160 Swarovski crystals, and took over 12,000 designer hours to complete. Not worth it. The dress is disenchanting. In the original version, the dress is luminous, we believe it is not merely yellow, but spun gold. The one Emma Watson wears seems like a poor knock-off. It feels flat. And what’s with her shitty jewelry? In the cartoon, Belle’s neck is unadorned; why ruin a perfect neckline with even the most impressive of baubles? But Emma Watson’s Belle accessorizes her ballgown with a shitty pendant on a string. I can only assume this is blatant product placement and this cheap trinket will be sold en masse in a shopping mall near you, but it’s so incongruous it’s a distraction. For shame.
And for all the little changes this movie makes, tweaks to the back stories and the plausibility, one glaring detail remains pretty much the same. In the 1991 movie, the wicked witch condemns the prince to live as a beast until he can love and be loved in return; if he fails to do so before the last petal falls from the enchanted rose, he will remain a beast forever, and his household staff will remain household objects. In the animated classic, we know that the beast has until his 21st birthday to make this happen, and that this has been a period of 10 years. Therefore, the curse bestowed upon him befalls him at age 11, and for what? Because he didn’t let a stranger inside the house while his parents were away? He’s ELEVEN! And his servants are blameless. It always struck me as an extremely cruel not to mention unfair punishment. In this recent film, the role of the witch is expanded, but this only makes her motivations murkier. We see how harshly she has condemned a young prince, but she seems to overlook much worse transgressions. If this is hard for me to swallow, I imagine it must be even more unsettling for children who need to know that rules and punishments are meted out fairly, at least.
I could not have skipped this movie, the pull was too great. But there was no childhood here to be relived, just a fraudulent imitation that had lost its sparkle.
Paris, 1682: King Louis XIV wants the gardens of Versailles to equal the beauty and grandeur of his 700-room, 2000-window, 1250-fireplace, 67-staircases palace.
In the film, his master gardener Andre feels the task is too immense (and the King’s ambition too grand, too exact) and he hires help to get it all done. His choice for the architect of an elegant outdoor ballroom stuns all the applicants: it’s a woman, not very well known, not a member of court, Sabine.
Now, if you know me at all, you know all you had to say was Versailles. I would probably get all beheady if my hard-earned tax dollars funded the place, but it’s obscenely, richly, decadently wondrous to look at. But here’s the thing: this is a movie that just keeps on giving. If you aren’t immediately convinced by the setting, here are three names to make you fall down in a faint: Kate Winslet, Stanley Tucci, Alan Rickman.
Alan Rickman, who also directs, gets to wear the crown as King Louis. Tucci gets to play a mere duke, but poor Winslet is the one wrecking her nails playing in the dirt. Kate Winslet, as you well know, is born to play such a role. She’s a period piece angel, a garden fairy, her creamy skin made for corsets, her wavy hair’s blonde highlights catching the sun’s warm rays, making her glow, making her attract the attention of the handsome and ill-married master gardener (Matthias Schoenaerts).
Sabine’s character is of course fictitious; women wouldn’t have been allowed to hold “jobs” at that time, even if they were widowed and otherwise poor, as Sabine. But Rickman’s insertion of her into a known piece of history really mixes things up and brings a level of enchantment to the piece. The gardens are beautiful, but they’re just the setting for a lot of familiar human emotion: love, betrayal, grief, triumph.
A Little Chaos is held up by fabulous performances by a very talented cast. It’s not quite passionate enough as a romance and is completely anachronistic as a historical drama. Nary a poor french peasant is glimpsed. But if you’re willing to let that go, I bet you’re going pulled into this fantasy as I was.
Project Almanac – I have mixed feelings about this one. I wasn’t bored by it, but the story is thin. I like the championing of the inventor, but I disliked the very trite time-travel routine, where the same costs and benefits are explored here as have been elsewhere a thousand times before. The kids are likeable enough but you know what? Enough with the “found footage” thing. It’s done. Let’s drop it.
Gambit – A movie with Colin Firth and Alan Rickman AND Stanley Tucci you want to like. But can you? It’s a remake, written by the Coen brothers, about an art thief who recruits ditzy Cameron Diaz to pull a fast one on his boss – and then dares to be surprised when it doesn’t quite get pulled off as planned. Firth is solid and has great comic timing but Diaz exists on a level so far beneath him it’s not fair to either. I have the feeling Firth was hoping for The Big Lebowski but ended up in The Ladykillers. Better luck next time, y’all.
San Andreas – The three Assholes who went to see this together are also the same three Assholes planning a trip to shitty, shaky San Francisco next month. Oh sure it seemed like a good idea at the time. Lots of wine, we heard, those weird, slopy streets, and just a beautiful coastal drive away from LA. San Andreas is not exactly a boon to tourism. Made it seem a little reckless to travel there (let alone live there), in fact. But we survived the movie and as of this time have not cancelled our plane tickets, mostly because Sean couldn’t find the number. I watched this movie totally stressed out, from start to finish. Is there a plot to this thing? I have no idea. WATCH OUT FOR THAT FIRE! Is there good acting in this thing? I don’t know, does dodging debris count? WATCH OUT FOR THAT FLYING CRUISE SHIP! It was a disaster movie so jam-packed with disaster that some leaked out the sides. It keeps you so busy racing from one near-death experience to another that you never have time to question the holes in the movie, because every hole is filled with exploding glass – in 3D!
Dear Zachary: A Letter to his Son About his Father – In 2001, Andrew Bagby was brutally murdered. Soon after, his girlfriend, the prime suspect, announces she’s pregnant and Bagby’s bereaved parents have to interact with their son’s killer in order to gain any visitation with the grandson who looks just like him. This is a documentary Kurt Kuenne who isn’t a particularly talented documentarian, but who was Bagby’s best friend. This is a tribute to his friend, and also to the parents who went to great lengths to make a life for a grandchild born out of tragedy. I was prepared for this one to hurt my heart, but I wasn’t quite as prepared as I needed to be. Check it out on Netflix.
Aloha – Cameron Crowe’s greatest offense is being too successful too early in his career. Does this stand up to Almost Famous? No, it doesn’t. And not many movies would. But would people be giving Aloha as hard a time if it were written and directed by anyone else? This film is imperfect. It drags in places (but has flashes of brilliance to prop things up) and it tries to involve too many, which takes away from the central story, which is the one we’ve put our butts in the seats to see. Emma Stone plays Jennifer Lawrence opposite Bradley Cooper (what is it about Bradley Cooper, by the way, that his characters are constantly romancing women he could have fathered?). Anyway, he plays this deeply flawed individual and she plays so pert and perfect you want to punch her right in the googly eyes. But you’re supposed to root for them I think, even though Rachel McAdams makes a tantalizing (and age appropriate, while still being younger) alternative. They exchange some witty banter, some banal banter, look at an atrocious toe, and induce Billy Murray into a dance scene. It’s not a cohesive movie by a long shot, but nor is it as bad as the critics will tell you. The story wants to be more than it is. The movie is beautiful but straight-forward. There’s very little art here. What we have in abundance is white people, puzzlingly, since it’s set in Hawaii, where the census tells us they’re relatively rare and Hollywood tells if you squint hard enough, George Clooney passes for Hawaiian.
Going Clear – The more I learn, the less I understand. I didn’t learn anything new (in fact, nothing that’s not on the Wikipedia page), and I think they went a little soft on the former members they interviewed. Has anyone else seen this?
Thursday Movie Picks, sponsored as ever by Wandering Through the Shelves, is brought to us this week by the letter W – for movies set in the workplace.
Office gossip can be addictive. Most people wind up spending most of their time talking about work when they spend time with their colleagues outside the office. Actually, three of the Assholes work in the same place and- when we’re not arguing about movies we’re often reminiscing (or ranting) about work. Even people who claim to hate their job tend to find the comedy and drama of any workday pretty interesting. All you need to do is capture that environment in a relatable way and you’ve got a pretty good movie.
The Apartment (1960)- This has been one of my most significant Blind Spots until this week and it was worth the wait. Jack Lemmon plays an accountant at a big firm who’s just trying to get noticed. Once his superiors find out that he has a modest but nice apartment conveniently located on the Upper West Side, he becomes their go-to guy as they start borrowing his key so they can discreetly cheat on their wives. Director Billy Wilder has a lot to say about the compromises people make in the name of ambition and manages to make a movie that is still funny after all these years while he’s saying it. Lemmon and Shirley MacLaine are as charming as can be too.
Office Space (1999)- Turning an animated short into a live action feature-length film could have been a disaster but Beavis and Butt-head creator Mike Judge turned any old boring day into the office into one of the funniest comedies of the 90s. Re-watching it this week, I laughed loudest when Gary Cole’s Bill Lumbergh- in an effort to pacify the troops- announces that Friday will be Hawaiian Shirt Day. Around our office, they charge us two dollars to wear jeans on Friday. I couldn’t help feeling bad for poor old Milton though.
Margin Call (2011)- Yet another movie that I’m thankful to Wanderer for giving me an excuse to finally check out this week. Zachary Quinto, Stanley Tucci, Jeremy Irons, and Kevin Spacey (making my list two weeks in a row) play investment bankers who see the writing on the wall leading up to the 2008 Financial crisis and sit around wondering what to do about it. Director J. C. Chandor (A Most Violent Year) knows how to set the mood and the performances are all stellar.
Up In The Air – Poor Ryan Bingham is so afraid of real life that he’s made sure his job keeps him in constant motion. His office may be at a cruising altitude of 32 000 feet but he spends a lot of time visiting other people’s workplaces to tell them they’re no longer employed. This is such a tough job that cash-strapped businesses are still willing to pay big bucks during a recession for him to do it in their place. He sees offices at their very worst, smells the fear and senses the instability, and is the receptacle for sometimes 20 years’ worth of pain and frustration. Our identities can be so wrapped up in our work, and in many ways, Ryan (George Clooney) is the prime example of this. Director Jason Reitman bravely tackles those creeping workplace notions of downsizing and obsolescence and asks some tough questions of the aging American workforce.
The Social Network – I love how you see the growth of the company here, the “offices” originally in a Harvard dorm room, and then graduating quite quickly to the impressive work space that was eventually needed. The movie recounts a very modern invention (hello, Facebook) but its workplace themes are as old as the first profession – loyalty, jealousy, theft, power, the complicated ownership of ideas. Whether friends or enemies, friended or unfriended, colleagues or competition, this project is always work, and everybody wants to get paid.
Brokeback Mountain – The classic office romance. They meet by the photocopier, lock eyes over the on, thwater cooler, exchange business cards in the elevator…or, you know, not. Don’t you wish your office looked like this? The scenery is breathtaking but make no mistake: these two cowboys meet at work, doing a job that’s not altogether welcoming to “their kind.” When their boss gets an inkling of what’s going on, the work dries up and the two spend the rest of their lives stealing secret moments and steeling themselves with memories of the best job they ever had.
Bonus pick: Monsters, Inc. Sully and Mike are about as close as two colleagues can be. Mike is the more ambitious of the two, but it’s Sully’s talent and skill that make them so successful. The workplace is originally competitive, and tinged with the fear of contamination (they do bio-hazardous work with children). It may be a cartoon about fuzzy monsters, but any joke about paperwork in triplicate is likely to land huge with adult audiences.
Since Matt took Office Space and Jay took Up in the Air, I am sticking to familiar territory and making my section an all-lawyer-movie workplace bonanza!
Philadelphia – a great movie about a lawyer getting kicked out of his workplace, and then going to his other workplace, the court, to try to make things right. Tom Hanks and Denzel Washington absolutely own this movie. I actually did not see this until last year and I should have seen it way sooner, because it’s excellent.
A Few Good Men – I saw this in theatres, I owned it on VHS, I own it on DVD, and one of my roommates in university recited the “You can’t handle the truth!” speech every time he had more than three drinks. And I could watch it again tomorrow. There are so many good lines and so many good characters in here that it remains enjoyable to this day. And again there are a few workplaces in here, namely the courts and the Guantanamo Bay Naval Base.
The Firm – Tom Cruise is probably the best lawyer ever, at least if you go by his on-screen performances. He almost got Dawson and Downey freed and in the Firm he somehow outmaneuvers a whole team of crooked lawyers and the mob while still adhering to his strict ethical code. Plus he does a lot of really fast running in the Firm which is always the best part of any Tom Cruise performance. This movie feels really long, because it is, but it’s still a good watch.
Anyone had an office love? Office hook up? Office BFFs?