More an expose on toxic work environments than anything overtly political, Bombshell is an effective true-life drama about the many pitfalls, humiliations, traps, harassment, and compromises that women face in the workforce. We follow the downfall of news magnate Roger Ailes (John Lithgow), the imposing man who built the Fox News empire and who also bullied his employees and solicited sexual favors from the many women who were on his payroll. Margot Robbie plays an invented character meant to provide that entry point into Ailes the creep in creepy action. She’ll be harassed and pressured for sex by a man described as “Jabba the Hut,” and Robbie is terrific in her big dramatic moments portraying what the pressure and shame does for her ambitious anchor. The other two main characters wrestle with how far to go in a corporate culture of keeping secrets from very powerful, very dirty old men. Gretchen Carlson (Nicole Kidman) is consulting lawyers for a personal harassment lawsuit against Ailes the person, not Fox News, but she needs other women to come forward. Megyn Kelly (Charlize Theron) is struggling with the scrutiny she has endured after then-presidential candidate Donald Trump turns his small Twitter thumbs against her. The Fox bigwigs won’t go on record to defend her, and their journalists, because they need Trump to drive ratings. The movie uses several Big Short-style narrative tricks to help tell its sordid tale, including swapping narration and fourth-wall breaks; a run through of hearing from Ailes’ past victims in their own words is striking, especially a woman who says she was only 16 at the time. Part of the fun are the many many cameos and just watching actors portray different Fox News personalities (Richard Kind as Rudy Guiliani!). The makeup is also phenomenal and Theron looks unrecognizable as Kelly. The film itself doesn’t feel like it’s telling you anything you already don’t know about the subject; people will compromise their morals for personal gain, power leads to exploitation, women are unfairly treated, and it’s easier to fall in line than stand up to power. There’s still a thrill of watching the downfall of a serial abuser, and the acting is strong throughout, but Bombshell can’t shake the feeling of being a slicker, more star-studded TV movie version of recent history. Even with the urgency of the topic, it feels light, and not because of its use of incredulous humor. I could have used more behind-the-scenes details, and maybe that’s where Showtime’s miniseries The Loudest Voice comes in, retelling the same story with Russell Crowe as Ailes. It’s a solid movie on a very pertinent subject and worth seeing but it also makes me wish for a harder-hitting, more widely sourced expose on this very bad man who felt forever protected by the status quo of power.
Nate’s Grade: B
Broad and oafish for political satire, The Campaign has some decent belly-laughs to it with the main point that our national political environment has become a parody of itself. It’s Will Ferrell doing his usual boorish boob stuff and then there’s Zach Galifianakis as an effete, weird, family values doofus. When it gets looney, The Campaign is at its best. I loved a town hall that descended into a mob chanting their willful opposition to Rainbow Land. I enjoyed that Ferrell’s punching of innocent creatures was turned into a running gag. Having a racist old man pay his Asian maid to talk like an old black mammy because he misses the good old times? That is downright inspired and I giggle just thinking about it. The campaign commercials were perfect, and who knew Dylan McDermott could be this funny as a political ninja? The problem is that the movie works best as a series of scenes but doesn’t add up to much more. Some of those scenes are hilarious, and others are just passable lowbrow entertainment. Then the movie tries to foster a happy ending, with the evil business tycoons (an obvious avatar of the Koch brothers) foiled. I do not believe that satire can have a happy ending. It undercuts the angry, sardonic message of the movie. It’s just not the right fit for the genre. Alas, The Campaign tries to insert some pathos into the mix and it feels false and far too tidy. As for summer comedies, the movie has a few killer jokes and an amiable presence, plus a very short running time so as not to wear out its welcome. Like most politicians argue… you could do worse.
Nate’s Grade: B-
Oh man was this thing just painfully unfunny on all levels. It’s an American remake of a fairly funny French film and it stars Steve Carrell and Paul Rudd, two actors that have to work really hard not to be funny. Well they found a way. Talk about a bunch of schmucks. Every single character is a world-class idiot that behaves in a manner that 1) isn’t remotely relatable and 2) isn’t funny. It’s all yelling and raised eyebrows and exclamation points in place of setups and payoffs. Even worse, it tries to force a horrendously false saccharine feel-good message, a comedic “believe in yourself” sort of moralizing that says, “They aren’t the freaks, we are.” No, you all are freaks. The film confuses situations that are weird, uncomfortable, and just plain unlikely with comedy, which doesn’t work without some careful context and setup. Watching this nonstop leaden buffoonery makes you hang your head and sigh. This makes Three’s Company look like enlightened comedy. The movie also features Jeff Dunham doing his wacky puppets. This cinematic stick in the eye comes across as an obnoxiously unyielding comedy that doesn’t know when to stop, how to start, or what to do in between.
Nate’s Grade: C-
Is anyone else getting tired of watching the same re-heated jokes again and again with the Austin Powers franchise? Making Goldmember is basically considered money in the bank, so I’m sure the creative people toiling behind the scenes don’t want to rock to boat of a financially proven formula. But when you become creatively stagnant then what was once entertaining turns sadly redundant.
I think there was four actual things I laughed at in the whole movie, and that in no way should justify admission price. I might be alone in my thinking but I feel the Austin Powers spy-spoof series is just getting less and less funny the more financially successful it becomes. Do we need to see more scenes with the grotesque and unfunny Fat Bastard? Do we need more scenes with the requisite underwritten female role (this time played by Beyonce Knowles)? And do we really need Austin at all? I mean if you want to talk about the weak link in this comedy troupe, it’s the name bearer himself. Whenever the film has to switch back to Powers the comedy drops to the floor. I would gladly pay good money to see an entire Dr. Evil movie. Michael Caine is the only solid addition to this movie.
It doesn’t matter what goes on in this some hour and forty minutes of screen time, because it will be huge. Many of the jokes fall flat, are devoid of wit, and just go for the cheapest and most scatological way out. Im not saying I expected much seeing the latest Austin Powers movie but I did expect to laugh, and not doing so is the biggest sin for a comedy.
Nate’s Grade: C
Ben Stiller is adept at playing everyman nice guys the audience yearns for to succeed. Something in his look, a twinkle in his eye – I don’t know. What I do know is put skilled comic Stiller, add a dash of stodgy Robert DeNiro as a foil counterpart, mix with ongoing catastrophe of errors, bake for twenty minutes at 450 and you have hilarity. Or at least, Meet the Parents. The premise is nothing new (in-laws from hell), but ‘Parents’ manages to find new laughs with an old concept. The chemistry between Stiller and the gruff DeNiro is fantastic and proves to produce numerous humorous situations. The laughs are genuine and keep stacking as the film continues on with more and more calamities happening for Stiller. Supporting characters all add something to the mix. Meet the Parents is likely the funniest film you’ll see all year without a man being stabbed in the head with a penis. What? I’m sentimental.
Nate’s Grade: B