First Man

FirstDirector: Damien Chazelle

Screenwriter: Josh Singer

Cast: Ryan Gosling, Claire Foy, Jason Clarke, Kyle Chandler, and Corey Stoll

How do you follow up a movie that won Best Picture at the Academy Awards (for five seconds), and then lost it. What kind of film do you make after having your hopes dashed at the last possible second, just short of experiencing the glory of a mission accomplished? You make a movie about the first god damned guy who went to the god damned moon and stood on the Moonlight itself, that’s what you do! Did Damien Chazelle make a movie about Ryan Gosling standing on a vacant non-musical moon to lament La La Land losing Best Picture to Moonlight? Of course not. There was no love lost between them, and Moonlight was the better film. But if he did, that’s poetry right there, a pure, uncut, mass media movie battle. Your move Barry Jenkins. I’m looking forward to your movie about a jazz drummer who doesn’t need an abusive music teacher to self-realize.

Anyway, First Man is Damien Chazelle’s follow up to La La Land, and it is a departure for him compared to his previous work, and mostly a good one. First Man is the story of Neil Armstrong (Ryan Gosling), the astronaut who became the first man to walk on the moon. However, a word of warning follows. If you are looking for another story of American ingenuity that results in a heroic and feel-good sense of accomplishment, look elsewhere. Chazelle and screenwriter Josh Singer chose to adapt James Hansen’s authorized biography of the life of Neil Armstrong, which – spoiler alert – is not all moonwalking and giant leaps. Armstrong’s life encompassed some of the highest highs as well as some of the lowest lows imaginable, and Chazelle and Gosling bring these emotions to life with vigor.

This tense balance of highs and lows is apparent right from the start when the film opens on Armstrong as a young aeronautics engineer for the NACA, piloting a North American X-15 right into the edge of outer space, and then promptly back down to earth. It’s an intense and disoriented sequence of film.

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Soon Armstrong’s ambitions bring him to the NASA Astronaut program forcing him to uproot his wife Janet (Claire Foy) and family from California to Texas to join Project Gemini as part of the team of astronauts pivotal in putting the United States in the lead during the Space Race against the Soviets.

First Man, however, develops as a human drama rather than simply a biopic. Yes, the journey to the moon is central to the movie, but it is not essential to its impact. Objectively, this film could be about any person stifled by tragedy, loss, and cultural boundaries, who loses himself in the process. The journey to the moon is but an instrument to reveal his catharsis. Speaking of “instruments,” while First Man clearly lacks the musician aspect that has been front-and-center in Chazelle’s previous films La La Land and Whiplash, it is not without music in its core. The editing, orchestration, arrangement and choreography of surroundings is quite rhythmic. This element adds to the immersive quality of the film that continues to be a signature of this young director (although I was hoping that signature would also include another J.K. Simmons cameo).

First Man is a moody film full of emotion and grit. Ryan Gosling gives another brooding yet powerful performance worthy of the man he plays. Additionally, Claire Foy, an actress I admit I’m rather unfamiliar with, is the source of most of the film’s real impact. Her scenes transcend the “poor astronaut’s wife” tropes aspiring to something far more revealing. Her ability to emote anxiety, stress, and struggle under the guise of composure is remarkable. The rest of the cast is serviceable, with recognizable faces playing many of the familiar figures you’ve seen before including Ed White (Jason Clarke), Jim Lovell (Pablo Schreiber), Gus Grissom (Shea Whigham), and Buzz Aldrin (Corey Stoll), but this film is very much a character piece examining Neil and Janet.

Once one understands that this film will not hit the notes you most likely were expecting, First Man works very well. Its disarming use of camera to focus on the human element of the action, and not the detached traditional view of things that we are used to is both uncomfortable and powerful. Overall, a poignant and dramatic exploration of a major historic event without the all too common escapist quality generally associated with this type of entertainment. A-

First Man is rated PG-13 and has a running time of 2 hours and 21 minutes.

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The Oscars: The People’s Critic Reacts

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Image credit: Oscars.org

Well, I think we all can agree that journalists who were looking for their headline for the Oscars broadcast were handed a gift at the very end. For those of you under a rock for the past several days, let me briefly summarize the events that unfurled for the Best Picture winner at the 2017 Oscars.

It’s 12:05 am EST; the natives are getting restless, but it’s been a relatively enjoyable Academy Awards show and while La La Land was nominated for a historic 14 awards, it’s sitting with 6 wins with Best Picture being the only award left to announce. Moonlight, a film that had gained steam all season had won Best Supporting Actor and Best Adapted Screenplay, two big wins. Enter Warren Beatty and Faye Dunaway to announce the final award. A Bonnie and Clyde reunion! Only this time La La Land was about to get riddled with bullets. If you haven’t seen the awkwardness that is Envelope-gate, you need to see it immediately. Words fail to express the bazaar episode. Still, here’s my best go at it. Everything is running smoothly until Beatty opens the envelope. It’s not clear something’s wrong necessarily, but it looks like Beatty is trying some shtick. He’s delaying, the audience is laughing, Dunaway is jabbing at him in that, “he’s so incorrigible,” kind of way. Several beats pass though as Beatty just stalls and pauses as he stares at the card, and then he shows it to Dunaway, who just blurts out, “La La Land!”

The place erupts. The La La Land producers take the stage, make their speeches, and a

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Image Credit: Oscars.org

decent population of people probably turn off their televisions and go to sleep. However, what happens next is La La Land producer, Jordan Horowitz takes the stage to reveal that there’s been a mistake. It turns out, the accountants for Pricewaterhouse Coopers who handle the envelopes had mistakenly given Warren Beatty an alternative envelope (#alternativefacts) for Best Actress. This explains why he took so long to read the card; he was staring at Emma Stone’s name. When he showed it to Dunaway, likely in order to get her confirmation that something’s gone awry, she just saw La La Land and blurted it out. Once things were sorted out, Beatty grabs the mic to explain why he made the mistake, saying he was not trying to be funny, but the envelope he had said Emma Stone, La La Land. The true winner was Moonlight, and an obviously stunned group of produces for Moonlight take the stage and commence the most awkward and heartbreaking experience of literally taking Oscar statues away from other people who thought they won.

 

Anyway, this whole thing was bad for La La Land, really bad for PWC, great for Moonlight, and really great for viewers! Other than this, The People’s Critic did a fairly good job of calling the winners. La La Land did steal the show with 6 wins, but the 7th was stolen from them when Moonlight was announced as the real Best Picture winner. I correctly predicted 15 of the 24 categories. I went the wrong way on a few of them, but in a night of several upsets, 15 ain’t bad. I was correct in predicting an upset with Lonergan winning over Chazelle for Screenplay, and my biggest lock, Viola Davis, played out as well. Her speech was highly anticipated given her intensity and her role in introducing Meryl Streep for her Cecil B. Demille Award at the Golden Globes. It was a very inspired speech, but I found a little fault in her claim that acting is, “the only profession that celebrates what it means to live a life.” I think there are limitless creative outlets in the professional sphere where people can truly understand the value and enormity of living a life without being paid to read dialogue in front of a camera.  And then there’s that whole exhume the bodies from the graveyard thing. Anyway, that hereby ends my rant on pretentious actors saying pretentious things.

Hacksaw Ridge and Arrival did not come up empty as I had predicted; Arrival won the Sound Editing award and Hacksaw Ridge received Sound Mixing and the impressive Film Editing Oscar! I was correct in predicting Lion to leave empty handed, however. As far as the big ones, I got 5 of the big 6 awards right, and in an alternative universe, I got all 6 correct. Check out  my Awards Spotlight page if you want to see all of the results and all of my predictions.

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Image Credit: cnn.com

I thought Jimmy Kimmel did a fantastic job as host. His monologue was political, satirical, but also on point with the tone of this year’s nominees. I give him a lot of credit for not disappearing after the opening monologue like so many hosts do. He took the stage multiple times throughout the show, made plenty of good jokes, and ran some gags including one where an unsuspecting group of tourists was ushered into the Dolby Theater during the Oscars and suddenly found themselves front and center with Hollywood’s finest. I’m always a sucker for Kimmel’s relentless attacks on Matt Damon, and he did not disappoint there whatsoever.

It was a fun Oscar night, and of course The People’s Critic’s Oscar dinner did not disappoint either, as we rolled out the red carpet for all of the celebrities, and everyone enjoyed some La La Lamb. Take a look at some of the fun!redcarpet

The People’s Critic’s Top 10 Films of 2016

Interior of a Movie TheaterWell, movies came out this year, but I think we can all agree that we are looking at a rather bleak field of films this year. It’s not, “2011, The Artist wins Best Picture bad,” but it’s close. And here we are again: Less than a month before the Academy of Motion Pictures releases its list of nominees, less than a week before the Hollywood Foreign Press hands out the Golden Globes, and of the likely list of top films to be nominated for Oscars this year, only five have opened wide enough to see in a suburban city of a Midwestern state. It’s the election all over again!

Last year, films like Sicario, Creed, The Martian, Bridge of Spies, and the eventual Best Picture winner, Spotlight all opened wide well before the end of December. That’s not to say that Sully, Hacksaw Ridge, Manchester by the Sea, La La Land, and Arrival didn’t try to play fair and open wide already; they did. But other potential frontrunners  Moonlight, Silence, Hidden Figures, and Fences are all playing on this double standard of releasing a film in minimal markets so it can qualify for Oscar eligibility only to open wide on some obsequious and noncompetitive weekend after the new year.  This is still an improvement over the 2014 awards season, where basically nothing but The Grand Budapest Hotel really opened wide, but it is a step down from the host of great films released wide during the calendar year in 2015. And let’s be honest, competition for theatrically released films has never been greater. With Netflix, Amazon, HBO, and other streaming sites moving into original cinema, film studios should begin cooperating, making theatrically released films easy to see, and make going to the theater special, but not exclusive!

Oscar nominations will be announced Tuesday, January 24th, bright and early, and after a two years of directorial domination by Alejandro González Iñárritu and three years of Cinematography superiority by Emmanuel Lubezki, it seems these two have left the field wide open for someone else to step up and win something.  Anyway, Oscar nominations are a coveted announcement, but a far more important announcement is being made right now – my list of the top 10 films of 2016.  While no Top Ten List can ever satisfy everyone, great care has been taken to analyze each film on my own particular set of criteria ensuring reliability!  So without further ado, I present The People’s Critic’s Top 10 films (that I was actually able to see) of 2016.

 

eye10. Eye in the Sky 

This film gets more and more fascinating the more I think about it. In the new millennium, we have seen drastic changes to what we consider “warfare,” and Eye in the Sky captures the intensity and complexity of an ever changing definition of modern warfare. Helen Mirren plays Captain Katherine Powell in command of an operation to potentially eliminate some of the world’s most wanted terrorists, who have holed themselves up in a small house in Kenya. When the risks of capturing them become too great, Powell gives the command for a hellfire missile attack via military drone. What complicates things is that a young girl selling bread sets up her storefront directly in the kill zone of the missile’s target, raising one of the many philosophical questions in this film, the first of which is whether there is an obligation to eliminate a potential threat to many lives by inadvertently killing an innocent. I promise you, this film makes you feel the full gravity of every decision that is made, which makes it one of the most intense movies of the year. This film also includes the great Alan Rickman in one of his final performances.

beasts9. Fantastic Beasts and Where to Find Them

Speaking of Alan Rickman, Snape may be gone, but Rickman would likely be comforted to know that the world is not done with Potter and company just yet. J.K. Rowling does the near impossible by picking up her magic wand again and creating something moving, amazing, and magical yet again in her first effort as screenwriter with Fantastic Beasts and Where to Find Them. Everyone who fell in love with the eight Harry Potter films will be delighted by this expansion of the wizarding world. Eddie Redmayne plays it a bit clownish as Newt Scamander, a magizoologist whose search for magical creatures brings him to New York City 70 years before “The boy who lived” ever hopped aboard the Hogwarts Express. There is a visual and immersive quality that we have come to expect when entering the Harry Potter universe, and director David Yates delivers once again. The characters are delightful, realized, and fun, and the environments (including the aforementioned “fantastic beasts”) are dazzling and eye-catching.

sully28. Sully

Sully is not a biopic. It is based upon Chesley Sullenberger’s memoir Highest Duty: My Search for What Really Matters and focuses almost entirely on the events of January 15, 2009 and the subsequent investigation. Bits of ‘Sully’s’ past are sprinkled throughout, but the film’s main objective is to feature the tremendous fortune that results from having the right people performing the right jobs. Sully is a solid film delivering its message and entertainment as effectively as Sullenberger’s miraculous water landing on the Hudson. Like it’s protagonist, the film showcases a couple of the right men for the job (as well as the right woman for a job that wasn’t there). A testament to superlative acting and creative filmmaking that breathes freshness into a story so recently and so publicly told.

man7. Manchester by the Sea

Everyone you’ve talked to about this film is absolutely right; this is a miserably sad movie. However, what I think too few are saying about it is that it is also hilariously funny. Writer/Director Kenneth Lonergan’s third film in over 16 years is another masterpiece of familial ups and downs. He constructs a film unlike anyone else cutting to the bone with wit, nostalgia, and cold, hard truth. Casey Affleck carries an emotional load as Lee, a janitor who is made legal guardian of his teenage nephew when his brother suddenly dies of a heart attack. This is Affleck’s strongest performance in his budding career as an actor. Understated, but honest, Affleck’s performance has gotten a lot of buzz, but the real champion of this film is Lonergan who gets powerful performances from all of his actors and delivers a fascinating, funny, heartbreaking, powerful film about love, family, and what it takes to survive tragedy.

hack6. Hacksaw Ridge

Hacksaw Ridge is a film that I had trouble placing on this list. First, I wasn’t sure it was top ten material, then once I examined my criteria and determined that it was, I had trouble deciding if it was top five material! Ultimately it’s top six material. Hacksaw Ridge is decidedly two separate films. A coming of age story about a young man named Desmond Doss, played by Andrew Garfield, in Depression-era Virginia falling in love with a young nurse and hoping to find a way to serve his country in World War II as an army medic, even though he refuses to personally pick up a rifle. That story is then catapulted out the window for one depicting one of the most gruesome, gut-wrenching war stories ever set to screen as Doss’s unit is assigned to participate in the Battle of Okinawa, historically referred to as a “meat grinder” of a location for American troops. This is a true story and a remarkable one at that. The first hour is pleasant, sweet, and at times very funny. The second hour is an assault on your senses almost to a breaking point. Vince Vaughn surprises as Doss’s army drill sergeant and the rest of the supporting cast is fantastic including Sam Worthington, Hugo Weaving, Rachel Griffiths, and Teresa Palmer. Director Mel Gibson makes the most of a powerful story and while his depiction of Doss feels a little too similar to that of another suffering protagonist Gibson is known for, it all works. Gibson has been a bit of a pariah as of late, and his off-screen antics are hard to forgive, but if you are one who can separate the art from the artist, this film is one of the year’s best.

midnight5. Midnight Special

This is where I expect I’ll lose a few of you. What is Midnight Special? Why is it number 5? I am just as surprised as you! I stumbled upon this film on a flight. Jeff Nichols is a young writer/director who I am really starting to love. His last two films, Mud and Take Shelter were excellent, and believe it or not, he actually has another film that he released in 2016 called Loving that is getting far more attention than Midnight Special! Still, I am going to put all my chips in on Midnight Special. I don’t think any synopsis of this plot will entice you to see the movie, so just trust me and check it out (it’s running on HBO and HBO streaming currently). Michael Shannon plays a father whose son appears to have some strange abilities. The boy has recently become the worship center of a strange cult, and when Shannon steals his son away in the night, the cult is determined to get him back. The U.S. government has also caught wind of the boy’s abilities and send an NSA agent to track him down as well. This is a sleek, clever, special little movie, and while some will have qualms about the ending, I think it is exactly the right choice.

Arriv.jpg4. Arrival  

Speaking of alien movies with clever endings, here’s another one! Arrival is the latest Denis Villeneuve film, and if you sensed my budding love for Jeff Nichols’s movies, then you can multiply that by a million for Villeneuve. His track record speaks for itself: Incendies, Prisoners, Enemy, Sicario, Arrival, and this year Blade Runner 2049! In a different year, Arrival could easily be the best film of the year. Still, number four ain’t bad. Arrival finds Amy Adams putting out another excellent performance as a linguistics professor tapped by the U.S. military to help them interpret an alien language. What makes this alien film different is that 12 alien space crafts have touched down all over the world, and in a world of itchy trigger-fingers, Adams’s encounters and translations hold the fate of the world in the balance. Adams is accompanied by Jeremy Renner who plays a theoretical physicist, and the two of them have great chemistry making for a richly character-driven sci-fi film.

CW3. Captain America: Civil War

Surprise, surprise! The People’s Critic liked a Captain America movie, but this time I’m not alone. Everybody liked this movie. It’s hard not to. Civil War boasts three outstanding achievements that no Marvel film before it has managed thus far. First, it introduces two of the best new characters (Black Panther and Spider-Man, both slated to receive upcoming stand-alone films) and does it with panache! I’ll leave the details about these new characters out so not to spoil anything for the rare reader who has yet to see this film, but both are quite satisfying and Spider-Man especially receives a worthy reboot after some questionable recent attempts by Sony Pictures. Second, the “Civil War” battle is a remarkable scene. This scene replaces the “Battle of New York” from Marvel’s Avengers as the Infinity Stone in the Marvel crown. DC executives responsible for Batman v. Superman (See my five worst films of 2016 for my thoughts on this one!) should take notes on how Marvel succeeds at fighting internal conflict with external conflict! Third, Captain America: Civil War manages to give all of its cast members room to breathe and make a memorable and worthwhile contribution.  No character is squandered, and as I alluded to earlier, this film explores some emotional depth but uses just the right amount of levity and humor to maintain an even tone.

rogue2. Rogue One: A Star Wars Story

Surprise, surprise, surprise! The People’s Critic liked a Star Wars movie! Again, everybody liked this movie, or at least the last 20 minutes, which are perhaps the best 20 minutes in any Star Wars movie ever! Rogue One: A Star Wars Story is a strong, balanced, and entertaining film that plays how we wish the original prequels could have played. There’s a hint of nostalgia along with new and fresh perspectives, which make us forget that we all know where this is going and “forces” us to care and root for these new characters. Director Gareth Edwards designs and directs this film to feel connected but not tethered to the other films, and I think that is a delicate task to accomplish. There are also some major bombshells and any misgivings you have about the film are wiped clean away with the final 20 minutes. If you have any level of appreciation for Star Wars, you will leave the theater in high spirits!

la1. La La Land

I tried people. I tried not to toe the line. I tried not to be all “critic-y,” but goddamnit, my toes are still tap, tap, tapping to this beautiful, heartwarming, goosebump inducing, musical masterpiece. If Rogue One: A Star Wars Story had the best final 20 minutes of any Star Wars movie, La La Land has the best first and last five minutes of any movie in the last five years! What puts it at number one is that between those amazing first five minutes and outstanding final five minutes are 118 exhilarating, beautifully crafted, musical minutes. La La Land is a simple story of Jazz musician meets struggling actor, Jazz musician loses struggling actress, etc., but that’s ok. If the plot were any more dynamic, it would take away from the sensory experience of this film. Gosling and Stone are captivating as the leads and while their voices may not be meant for Broadway, they are perfect for a film that “dances” between worlds. Half nostalgic and half prognostic, La La Land shows us that writer/director Damien Chazelle is more than the real deal. He’s the next big thing! La La Land puts a nice bow on a tumultuous 2016 and is definitely the front-runner for best picture in my book.

The Five Worst Films of 2016

C25. The Conjuring 2  

I’m sad to start this list with a sequel to a film that made my top 10 in 2013. The Conjuring 2 doesn’t really advance the narrative of the original’s characters or reveal any depth to the uncertainty of its source material. In the same way that a television series might be developed for a network, but then the studio makes a deal to tie it to an already proven property in order to reap an existing audience, The Conjuring 2 feels like a Mad Libs horror movie script and the studio slapped The Conjuring 2 on top of it. This is a “been there, done that,” movie for the ages.

BvS4. Batman v. Superman: Dawn of Justice

At the end of 2015, we were all gearing up to see what DC had to offer to combat the cinematic monopoly Marvel Studios has had over the superhero genre. Well, the results are in and two of their films make my worst of 2015 list; Batman v. Superman being the first. Yet another bloated set-up piece, these movies need to stop hinting at something and start showing us something. Warner Brothers needs to stop holding its cards too close to the vest and start revving this thing up before we lose interest entirely. Wonder Woman and Justice League are next up for 2017. Let’s hope I don’t have to reserve two more spots on the Worst list for 2017.

nerve3. Last third of Nerve 

I had other films in mind for this list, but I kept coming back to how disappointed I was with the ending of Nerve. Let me start by saying, Nerve as a whole has no business being on a worst of the year list. However, given that my top two movies of the year were given that status in no small part due to their phenomenal endings, I think Nerve stands as a wondrous example of how damaging a bad ending can be. I’ve never been more disappointed in an ending for a movie. Not because it was bad. It was fine. But if the ending was as principled and interesting as everything that came before it, we’d have a much better film. Director Henry Joost is a newbie, but if you’ve seen Paranormal Activity 3, Paranormal Activity 4, and the film Catfish, you’d see where I’m going with this. Endings are crucial and bad endings to good movies are exponentially more damaging.

Suicide.jpg2. Suicide Squad

DC is back again with the number two worst movie of 2016, Suicide Squad. Anticipation couldn’t have been higher for this one. What seemed like dream casting, mixed with a lighter, funnier tone lead many of us to believe this was the film that would right a sinking ship. Instead, it blew one more big, giant hole in the hull. Unfortunately, the box office total of my, Five Worst Films of 2016 list is nearly identical to my Top Ten Best Films of 2016 list. What does that tell you. People are paying for and going in droves to see these bad movies. Suicide Squad is hardly a movie. It’s disjointed, it’s annoying, it’s shallow, and worst of all, it’s boring. Viola Davis attempts to give some credibility and Margot Robbie will be iconic as Harley Quinn, but nothing can save this mess.

now1. Now You See Me 2

Lightening definitely didn’t strike twice for this fledgling attempt at building a franchise. Now You See Me was a perfectly fine, fun little movie, but not everything that is moderately successful needs a part 2 (or a reported part 3!). All the tricks are played out for this band of illusionists. The style was corny this time around, as original director Louis Leterrier was replaced by Jem and the Holograms director, Jon M. Chu. They couldn’t even get all of the original cast back for this thing as Isla Fisher would not sign on and also refuses to sign on for the third film. Red flags abound and poor Daniel Radcliffe never saw them coming as he looks utterly lost and confused in easily the year’s worst movie. Yuck.

Office Christmas Party

officeDirector: Josh Gordon and Will Speck

Screenwriter: Justin Malen, Laura Solon, and Dan Mazer

Cast: Jason Bateman, Olivia Munn, T.J. Miller, Jennifer Aniston, Kate McKinnon, and Courtney B. Vance

I’m a sucker for a good holiday movie; I even devised a gimmick to perpetuate my ability to release an annual top ten list of my favorite holiday films. That means Hollywood always has $10 up for grabs from me this time of year, if they want it. Last year, The Night Before got it, and if not for the church scene, I’d say I was ripped off. This year, Office Christmas Party got my $10. As I mentioned, I am a sucker for a  good holiday movie, but it looks like I’ll have to settle for adequate.

Office Christmas Party is the clichéd story of a dull- named man, Josh (Jason Bateman) having a stereotypical divorce conveniently before entering the stereotypical flirtation zone with Tracey (Olivia Munn), who is stereotypically a tough gal who literally “locks people out” of her life. When dull-Josh and stereotypical Tracey can’t land a major client for their tech company, a formulaic conflict emerges about doing something crazy to keep the branch from being shut down.

Now I know what you’re saying, “Peoples Critic, didn’t you say this was an adequate holiday film? Where’s the adequacy?” Well thank your lucky stars that directors Josh Gordon and Will Speck prayed to the comedy gods and the gods delivered T.J. Miller, Kate McKinnon, and Jennifer Aniston.  They make the movie. Miller and Aniston play sibling branch manager and CEO, respectively, of their father’s tech company, and their dynamic and conflicting nature of how to run a business is quite entertaining. These two have buckets more on-screen chemistry than Bateman and Munn have, and they’re playing siblings! Aniston is at her snarky best playing the tightly wound Carol, who is fed up with her brother Clay’s disregard for bottom lines and irresponsible management. After reviewing Clay’s branch, she delivers the ultimatum that there will be no extraneous spending, and jobs will be cut in the new year. So what does Clay do? He works with Josh to throw the most extravagant office Christmas party possible and use it to try to woo the client (played by Courtney B. Vance) Josh and Tracey couldn’t land. There you go, plot-premise delivered. So is it funny?

The short answer is, occasionally. Kate McKinnon’s stressed out, high-strung HR manager, Mary certainly helps. The biggest revelation I had during this movie is that McKinnon is ready to break out. She needs a vehicle (other than her Kia minivan in this film) to star in right now! Other than that, Office Christmas Party is a string of gags that have about a 50% success rate. Is that a good rate of return for a comedy? Not really, but these days (especially 2016), it’s par for the course, I’m afraid. The marketing obviously wanted you to be hearkened back to the outstandingly funny film Horrible Bosses from 2011. It’s about bosses, it’s got Bateman and Anniston, but what it doesn’t have is director Seth Gordon or writers Michael Markowitz, John Francis Daley, and Jonathan Goldstein. So let’s be clear, it’s not Horrible Bosses. But it’s also not horrible. Miller channels his character, Erlich Bachman from Silicon Valley in all the right ways, and his line at the end about describing his pain to the doctor is still making me chuckle when I think about it. The premise makes way for plenty of bit players to swing in for a gag and back out again, but I wish more of the gags landed. Also, I don’t’ understand why the final act of these types of movies has to go so far off the rails. There is always an attempt to crowbar in a sudden sense of danger, but this is Office Christmas Party; leave the danger to Die Hard! And while I’m on the subject, *spoiler alert – go to the next paragraph if you don’t want to know about a minor plot point* there is a rule in screenwriting that if you’re going to show a bomb, it needs to blow up. There is a scene early in the film where Clay talks to Josh about how much velocity you’d need to jump the Franklin Street Bridge in Chicago when it’s opened up. Then, surprise, there’s a car chase at the end of the film, and where are they headed? You guessed it, but they don’t jump the bridge! Why set this up? You are already inventing a false sense of ridiculous danger; why not go for it? Totally annoying.

Ok, spoiler free from here on out. Office Christmas Party does exactly what its title suggests. There is an office Christmas Party. It is also full of funny people being mostly funny, which makes it worth my stupid $10 holiday donation to Hollywood. But if movies like La La Land, Moonlight, and Manchester by the Sea would quit with their dumb limited-release BS and just open like you know they will in a month or so, then I’d be far happier to give my donation to something more worthwhile. B-

Office Christmas Party is rated R and has a running time of 1 hour and 45 minutes.