Tag: Bill Burr

Unfrosted Review

To generously take a bowl is half super approach, Jerry Seinfeld’s Unfrosted features stand-up Kyle Dunnigan doing a pretty killer Walter Cronkite impression. His anchor recounts the news with trademark authority followed by darkly amusing off the air grumblings about his love life and alcoholism. Later on, Dunnigan follows up with an impressive Johnny Carson takeoff. There’s lots of comedians and comedic performers in the legendary Mr. Seinfeld’s directorial debut for Netflix. Most of them don’t get the chance to nail their brief screen time like Mr. Dunnigan. A lot of Unfrosted, a mostly fictional account of how Pop-Tarts came to be, consists of stale humor with too many subplots competing against one another.

Even 96 minutes feels long since there’s barely enough witty material for the 22 minutes Jerry used to work in. He plays Bob Cabana, a high level exec at Kellogg’s in 1963. This is one of those screenplays (by Seinfeld and his frequent collaborators Spike Feresten, Andy Robin, and Barry Marder) that constantly reminds us it’s set during that decade in increasingly lame ways. Along with his boss Edsel Kellogg III (Jim Gaffigan) and Melissa McCarthy’s NASA scientist turned cereal conglomerate employee, they are in a race to produce the best toasted pastry treat. In Battle Creek, Michigan, the combat lines are drawn with their rival Post led by socialite Marjorie Post (Amy Schumer). Such lines are not so subtly tied to another race – the space one – of that era.

Rhythms of Unfrosted becomes familiar in short order – a joke or two that work about a given subplot (like the correlation with the nation’s trip to the moon) that get overused swiftly. There’s bursts of inspiration like Dunnigan’s grousing. Bill Burr’s take on JFK is also a delight. Most of the time I wasn’t blown away by what else the overfilled screenplay had to say.

Since this is Seinfeld we’re talking about, there’s lots of funny people popping in for a day or two on the set. Hugh Grant is the very real Thurl Ravenscroft, a true Shakespearean thespian who voiced Tony the Tiger. The Kellogg gang recruits a hodgepodge of kitschy historical figures including fitness guru Jack LaLanne (James Marsden), Sea Monkeys maker and maybe Nazi Harold von Braunhut (Thomas Lennon), and Chef Boy Ardee (Bobby Moynihan) to develop the product. I could go on and on. Mixing all these talents together is bound to produce some amusing highlights and it does on occasion, but not nearly enough. Sometimes the satire totally misses like when it attempts to connect a mascot uprising to January 6th.

A lot of Unfrosted probably sounded better while Seinfeld and crew were discussing it over Zoom. Most of it might produce more guffaws if its Cronkite impersonator were handling the delivery.

** (out of four)

Oscar Predictions: Unfrosted

You might be familiar with his TV work, but Jerry Seinfeld’s cinematic output is limited to the 2002 doc Comedian and 2007’s animated Bee Movie. He makes his directorial debut and stars in Unfrosted, which loosely tells the story of how Pop-Tarts came into our world. The cast is an impressive mix of comedic talents including Melissa McCarthy, Jim Gaffigan, Hugh Grant, Amy Schumer, and many more that are tagged in this write-up.

Premiering on Netflix this weekend, reviews are finally popping up. The late embargo is explained by the troubling 18% Rotten Tomatoes score. Indicating a rare misfire for the small screen legend, this big screen product origin tale (a popular of genre lately) was never seen as an Oscar player. Yet considering the talent onboard, Golden Globe possibilities in the Musical/Comedy derbies seemed possible. Those appear to be toast. My Oscar Prediction posts will continue…

Dog Review

When the two leads of Dog – one of the human variety and another of the canine persuasion – find their rhythm with each other, so does the film. That takes too long (about half of the running time) as we road trip though cartoonish potential threesomes and Mr. Magoo inspired humor. The screenplay from co-director Reid Carolin can’t seem to get out of its own way for the initial stretch. Fortunately Channing Tatum is the other co-director and his chemistry with the title character hits a stride in the back sections.

Tatum’s character was dropped into the Cool Sounding Movie Name Generator and out spat Jackson Briggs. He’s an ex Army Ranger doing menial jobs stateside and pining for a return of duty. When his former brother in arms dies in a car accident, he gets an assignment but not one sought. Briggs is tasked with transporting the deceased’s military dog Lulu from Washington State to the funeral in Arizona. Both Jackson and Lulu are suffering from PTSD. This is scheduled to be the latter’s final assignment as the aggressive hound will be euthanized following the burial.

While nothing in Dog says anything particularly fresh about its subject matter, the rapport between the stars elevates the material. It’s certainly their show as the supporting actors are bit players. Jane Adams and Kevin Nash show up as farmers of the up in smoke variety in one of the would be farcical excursions. Three Belgian Malinois portray the role of  Lulu. Tatum was inspired by a real road trip that he took with his ailing pooch in creating the story. The dramatic stuff works better than the attempts at comedy in the early goings. More of that may have helped and Dog is roughly (or ruffly) equal parts hit and miss.

**1/2 (out of four)

Dog Box Office Prediction

After a lengthy hiatus from starring roles, Channing Tatum is back in theaters with Dog on February 18th. He plays a U.S. army ranger tasked with bringing a military pooch to his handler’s funeral. The dramedy also marks Tatum’s debut behind the camera (he co-directs with Reid Carolin). Jane Adams, Kevin Nash, Q’Orianka Kilcher, Ethan Suplee, Emmy Raver-Lampman, and Bill Burr make up the supporting cast.

As mentioned, Tatum’s been on a bit of a hiatus lately. His last headlining role was all the way back in 2017 with Logan Lucky (he did turn up in Free Guy and will be seen next month alongside Sandra Bullock and Brad Pitt in The Lost City).

Looking at potential canine comps, A Dog’s Purpose back in 2017 took in $18 million out of the gate. A Dog’s Way Home made $11 million for its start two years later. One caveat – both were based on novels whereas this Dog is an original concept.

Arriving a year after its COVID delay, Dog will hope to attract a female crowd (thanks to Tatum) and those who just generally like the word “dog” in a film’s title. Over the four-day President’s Day frame, there’s a decent chance this could over perform and possibly get to $20 million (or it could flame out with $10 million). I’m thinking $12-$15 million is most likely.

Dog opening weekend prediction: $13.3 million (Friday to Monday estimate)

For my Uncharted prediction, click here:

Uncharted Box Office Prediction

The King of Staten Island Movie Review

Pete Davidson is not your average Saturday Night Live cast member. He is less known for characters he plays and is more known for essentially portraying himself on Weekend Update sketches. That includes warts and all with his much publicized romantic life, struggles with mental health and drug issues, and tragic family history. It is no surprise that Judd Apatow is the director to bring his semi autobiographical story to the big screen in The King of State Island. And the Apatow treatment comes with the high points of his previous efforts. It also comes with the warts and all of his pics that includes an unnecessarily lengthy running time and subplots that don’t really pan out.

The big screen treatment ended up being a misnomer since Island went the Video on Demand route due to the COVID-19 pandemic. Davidson is Scott Carlin, an aimless 24 year old living with his mom Margie (Marisa Tomei) in the borough where it is joked that New Jersey looks down upon. His little sister (Maude Apatow) is an achiever who is moving along to college. Scott’s longtime friend and sort of girlfriend Kelsey (Bel Powley) is a glass half full type in contrast with his constantly half empty outlook. The similarities between Davidson and his character are hard to miss. Scott’s father was a firefighter who died in the line of duty and so did Davidson’s on 9/11. Substance abuse and effects of ADD are prevalent with Scott and, as mentioned, the actor hasn’t been shy about addressing those matters.

One key difference: Davidson has been a pop culture fixture on the famous sketch comedy show for a few years. The man he is playing isn’t accomplishing much of anything. His idea to open a tattoo parlor/restaurant is met with understandable skepticism. Scott’s arrested development is dealt a setback when Margie finds romance after 17 years of being a widow with fireman Ray (Bill Burr). Their courtship elevates his anxieties to a new level.

Apatow, over the past decade and half, has elevated numerous comedic performers to new heights. These include Steve Carell in The 40 Year Old Virgin, Seth Rogen in Knocked Up, and Amy Schumer in Trainwreck. The similarities here are most in line with the latter as Davidson’s known persona is put through the cinematic lens. As an avid SNL watcher, I have found his bits occasionally inspired and frequently a little grating. It is a credit to Apatow and Davidson that Island finds a balance that is primarily satisfying. However, that’s not to say there aren’t issues. Island is too long. A subplot regarding Scott and his buddies and a pharmaceutical heist could have easily been left on the cutting room floor. While it often deftly switches between humorous and serious segments, the tone shifts are not always consistent.

On the bright side, some scenes are quite well done. This includes a night out with Scott, Ray, and some fellow firefighters where his late dad’s angelic legacy is tarnished to his son’s delight. Every time romantic interest Kelsey (with a terrific performance by Powley) is around, it works. I actually found myself wishing Scott had more interest in her because she deserves more screen time.

Ultimately The King of Staten Island is vintage Apatow and that includes the glass being measured in both ways. Thankfully it is full for the most part.

*** (out of four)

Oscar Watch: The King of Staten Island

The latest dramedy from director Judd Apatow is receiving a lot of similar praise and a bit of the same criticism as other titles in his filmography. The King of Staten Island hits the VOD circuit this Friday after foregoing a theatrical release due to COVID-19. The pic is a showcase for Saturday Night Live cast member Pete Davidson, who’s received as much press for his personal life as his SNL antics. This is a semi-autobiographical vehicle for him and reviews out today give high marks to his work.

Overall Island currently stands at 79% on Rotten Tomatoes. Several critics are calling it Apatow’s most mature work. There are kudos for the supporting cast that includes Marisa Tomei, Bill Burr, and Bel Pawley. On the flip side, there are some complaints about its 136 minute runtime. This is a common gripe for the director’s efforts.

While Oscar attention is unlikely, the pic could garner the attention of Golden Globes voters since it splits acting races between Drama and Musical/Comedy. In the latter, Davidson could be a contender for Actor. Yet the Apatow track record at the Globes is shaky. Neither Steve Carell (The 40 Yr. Old Virgin) or Seth Rogen (Knocked Up) made the final five. I would especially say that Carell was robbed in 2005. On the other hand, 2015’s Trainwreck nabbed Amy Schumer an Actress mention.

Bottom line: some awards chatter for Apatow’s latest stand-up star could happen, but I don’t think it would be at the biggest show of all. My Oscar Watch posts will continue…

The Front Runner Movie Review

Jason Reitman’s The Front Runner is a true political story that transfixed the nation three decades ago. The Presidential campaign of Colorado Senator Gary Hart (Hugh Jackman) happened at a time just as cable was set to dominate how we get our news. Newspapers could see it coming and The Miami Herald, for better or worse, got ahead of the curve by venturing into tabloid territory. The Washington Post here is uncertain whether they should veer in that direction. However, they see the sensationalism train beginning to roll and can’t be the highbrow publication to pump the brakes.

It was The Post that exploited a massive Commander-in-Chief scandals a few years prior with Watergate. Here it’s the extramarital activities of Hart. We first witness him in 1984 conceding to Democratic nominee Walter Mondale, who would lose badly to President Reagan. Yet his run wasn’t wasted as he becomes the film’s title four years later. He appears set to top the ticket until three wild weeks occur in 1987. It involves his relationship with a young woman Donna Rice (Sara Paxton) and the media’s fixation on it. The days of reporters looking the other way when it comes to extracurricular activity is finished.

In this screenplay from Reitman, Matt Bai, and Jay Carson, Hart is alternatively seen as a sympathetic figure while not completely ignoring that he was a lousy spouse. Vera Farmiga is wife Lee and she’s given a few moments to shine as his conflicted partner. Her performance, while more limited in time, is the strongest. She emerges as the most fascinating character, but the marriage is given short treatment. This film is more geared towards critiquing our feeding frenzy media landscape. And while the times were a-changin’ thirty years ago, the script never finds an angle to shed any meaningful light on it.

Candidate Hart himself didn’t see the tide turning and felt his personal life was just that. As played by Jackman, he’s an enigma focused on policy proposals and not the show biz acumen that comes with the territory (let’s not forget he’s attempting to succeed the first movie star POTUS). It frustrates staff including his campaign manager (J.K. Simmons). They believe in him, but realize he gets in his own way.

The Front Runner tries to say Important Things about a campaign that’s influenced all that have followed. Hart’s foibles in our current environment may be considered quaint. That said, the pic rarely makes its points seem bold or fresh. There’s been fictional politico tales such as Primary Colors and Bulworth that were more entertaining and perceptive in their take on this particular universe. This lies toward the back of the pack in the genre.

** (out of four)