Tag: Kristin Wiig

Shoulda Been Oscar Contenders: Kristin Wiig in Bridesmaids

As SNL just wrapped its 46th season last night, today seemed like a good opportunity to showcase an alumni deserving of awards consideration from a decade ago. In the summer of 2011, Paul Feig’s Bridesmaids became the comedy smash of the season. It was noticed by the Academy. Melissa McCarthy landed a nod in Supporting Actress while Kristin Wiig and Annie Mumolo were nominated for their Original Screenplay.

I would contend that Wiig should have been a double nominee in lead actress, especially considering that 2011 was a rather weak year in that race. Meryl Streep took the gold for The Iron Lady in what’s widely thought of as one of her least impressive victories. She triumphed over Glenn Close (Albert Nobbs), Viola Davis (The Help), Rooney Mara (The Girl with the Dragon Tattoo), and Michelle Williams (My Week with Marilyn).

Bridesmaids is perhaps the most impressive SNL cast member starring debut in history (an argument could also be made for Eddie Murphy in 48 Hrs.). Wiig’s drunken scene on an airplane headed to Vegas alone is worthy of awards attention and her work would have marked a fine occasion for the Academy to throw a rare bone to the comedic genre.

Barb and Star Go to Vista Del Mar Review

The heights of Kristin Wiig and Annie Mumolo’s writing partnership has been airborne for a decade now. In their 2011 collaboration Bridesmaids (which was Wiig’s deserved breakout on the big screen), the funniest scene of many took place on a plane with the bridal party trying and failing to get to Vegas. That thwarted flight was uproariously due to the lead’s drunken exploits. Wiig and Mumolo’s teaming ten years later in Barb and Star Go to Vista Del Mar again provides my favorite highlight above the clouds.

Wiig is Star and Mumolo is Barb. They are Nebraskan BFF’s recently fired from their jobs and looking to shake things up. When they decide that a Florida trip is the way to do it, their discussion on the flight involves them inventing a superstar woman named Trish. The dialogue proves the following: just like their characters, Wiig and Mumolo can create seemingly improvised silliness that is downright hilarious. Their emotional investment in the fictitious Trish is a sight to behold.

The best moments here are throwaway lines and conversations that could have worked just as well with Barb and Star as characters on Saturday Night Live doing a Weekend Update bit. Is that enough to satisfactorily fill two hours? Not really, but you can’t help but praise the leads/co-writers for trying.

Barb and Star is far more of a dumb comedy than Bridesmaids and I don’t mean that in a bad way. The tone is pure farce and there’s unexpected musical performances that interrupt the absurdity. We have Jamie Dornan showing a different shade of his personality from his Christian Grey persona (he gets perhaps the most memorable singing assignment). Wiig gets to pull double duty as a villainess with an aversion to sunlight. Her grand plan involves destroying Vista Del Mar and unleashing deadly mosquitoes on the town’s populace (think Austin Powers levels of scheming). Dornan is her lover/henchman sent to do some of the dirty work. When he meets the sweet and naive Midwestern besties, the possibilities of a throuple get real and then real complicated.

It seems irrelevant to spend much word space delving into the plot – which is incidental. Barb and Star works or doesn’t based on how much you believe this premise can be stretched. I have to be frank. I’m not referring to the franks that our two heroines put in their soup during Talking Club, which is Nebraska’s version of ladies night and is run with military precision by its leader (Vanessa Bayer). The film sort of runs out of steam (not the steam emanating from said franks) about midway through by my meter. The inventive Trish talk, the hot dog soup, and the dawning of the Dornan dalliances are all first half occurrences. I do give the script some props for being so gleefully bizarre. Wiig and Mumolo’s second effort is destined to become a cult classic and I imagine Barb and Star Halloween costumes (love those culottes) this fall. I could never quite fully escape the feeling that it might have worked better as shorter sketches on the program that made Wiig a star before Star.

**1/2 (out of four)

Wonder Woman 1984 Review

I wish Wonder Woman 1984 wasn’t the disjointed viewing experience that it mostly is. I wish it had the humor that landed in the 2017 pic and the sweet love story between its heroine and her man that was well-developed. Here the humor seems forced as does the interplay between Gal Gadot’s title character and WWI pilot Steve Trevor (Chris Pine). This is a sequel that feels like busywork and it’s devoid of, yes, some of the wonder that made the original a bright spot in the DC Extended Universe.

1984 means leg warmers and action sequences set in shopping malls. It also means part 2 picks up nearly seven decades later. Gadot’s Diana fills her days as an anthropologist at the Smithsonian and her nights pining for the long departed Steve. Of course, she also does some Wonder Woman stuff in between. When she thwarts a jewel heist in one of those sprawling shopping structures, it turns out the thieves were really after some black market artifacts that weren’t on display. That includes an ancient “Dreamstone” of Latin origin that grants wishes no matter how dangerous they might be. For Diana, it means bringing her lost love back. This is handled by Pine returning in the form of some random DC dude. While Pine’s courtship with Diana was a high point the first time around, the actor is now relegated to gawking in wide eyed disbelief at rocket ships and escalators. His participation here never smacks of anything more than plot device mechanics and that’s a letdown. He does get a reverse Pretty Woman style sequence in which he tries on pirate looking shirts and fanny packs in front of his nonplussed girlfriend. So there’s that.

Of course, this “Dreamstone” leads to nefarious actions from others. Max Lord (Pedro Pascal) is a failed businessman who’s known for cheesy infomercials. His acquiring of the artifact allows him to amass significant power and oil. He also has a young son that he’s desperately trying to impress and that results in some mawkish moments. And there’s Kristin Wiig as Barbara. She’s Diana’s supremely unconfident geologist coworker. Barbara feels invisible until her interaction with the Stone makes her as tough and beautiful as her fellow employee. Unfortunately her power trip partners her with the megalomaniac Max and his misguided plans. For Wiig, Barbara is one of those characters who immediately becomes attractive once her big glasses and frumpy dress go by the wayside. She’s simply not a memorable villainess. There are shades of Michelle Pfeiffer’s Catwoman from Batman Returns, but she’s not written nearly as potently.

Pascal’s Max is another story. I can’t say he’s not memorable because the performer portraying him goes way over the top in doing so. I think Pascal knows how much he’s hamming it up and his go for broke attitude does provide a bit of fun. That’s welcome because it’s in short supply. I might volley back and forth on whether he’s actually great or kinda terrible here, but it’s a performance worth mentioning. That’s more than I can say for everyone else.

For two and a half hours, 1984 often forgets to bring the joy. There’s a make it up as we go along vibe that wasn’t as noticeable when Patty Jenkins helmed the first (she returns here and is one of three cowriters).

Wonder Woman 1984 is all about how you can’t get ahead by cheating and lying (a prologue featuring some familiar faces from part 1 makes that message clear). The following 150 minutes hammers it home with convenient and haphazard storylines that, ironically, sometime feel like cheats. I wish this came close to the quality of Gadot’s first stand-alone venture, but we are left waiting and wanting in 1984. 

** (out of four)

Oscar Watch: Wonder Woman 1984

After experiencing COVID-19 related delays, Warner Bros. is finally unveiling their superhero sequel Wonder Woman 1984 on Christmas in theaters and HBO Max. Needless to say, this is certainly one of the most anticipated 2020 releases as the 2017 predecessor was a critical hit and massive blockbuster (making over $800 million worldwide). Patty Jenkins returns as director with Gal Gadot back in the title role and Chris Pine reprising his role. Costars include Kristin Wiig, Pedro Pascal, Robin Wright, and Connie Nielsen.

Two and a half weeks ahead of its unveiling, the review embargo has lifted and signs are encouraging. The current Rotten Tomatoes meter stands at an impressive 89% (just slightly lower than the 93% achieved by part 1). There are some gripes about over length, but reviewers are mostly calling it a nostalgic blast. Could the second coming from the warrior goddess also known as Diana garner any awards attention?

It is worth noting that Wonder Woman 2017 received no Oscar nominations. That said, the amount of eye-popping blockbusters in 2020 is smaller than any other year in recent memory. This could mean that 1984 could pop up in technical races including Makeup and Hairstyling, Production Design, Sound, and Visual Effects. The first two categories could be a bit more doubtful while Sound and Visual Effects seem like solid possibilities. Gadot’s hero will compete with another Warner Bros. superhero property in those races with Birds of Prey (released just before the pandemic outbreak).

I do not expect that this will play in the big awards derbies. There was some chatter three years ago that part 1 could get a Best Picture nod, but it never materialized. Black Panther still stands as the only superhero property to play in that race and Wonder Woman 1984 is highly unlikely to be the second. My Oscar Watch posts will continue…

 

Top 25 SNL Alumni Performances: Numbers 10-6

We have reached the top ten in my personal favorite performances from the dozens of Saturday Night Live alumni. Today’s list covers numbers 10-6 and if you missed my previous editions, you may find them here:

https://toddmthatcher.com/2020/06/21/top-25-snl-alumni-movie-performances-numbers-25-21/

https://toddmthatcher.com/2020/06/22/top-25-snl-alumni-movie-performances-numbers-20-16/

https://toddmthatcher.com/2020/06/24/top-25-snl-alumni-performances-numbers-15-11/

Let’s get to it!

10. Randy Quaid, National Lampoon’s Christmas Vacation (1989)

Ahhh, Cousin Eddie. One of the funniest supporting characters in film history with Quaid’s performance as the black sheep of the Griswald family. He was great in Vacation as well, but his work in the Yuletide classic gets the nod. Quaid only appeared in one ill-fated season of the show from 1985-86.

9. Kristin Wiig, Bridesmaids (2011)

Wiig is one of the greatest SNL performers period and her first starring role was a blockbuster showcase for her immense talents. Her costar Maya Rudolph deserves a shout out for her performance as well.

8. Eddie Murphy, The Nutty Professor (1996)

Beyond his terrific work as Sherman Klump and Buddy Love, this update of the Jerry Lewis tale also finds the versatile star hilariously playing nearly every member of the Klump clan under Rick Baker’s amazing makeup work. This was deservedly a major comeback vehicle for Murphy.

7. Robert Downey Jr., Iron Man (2008)

People tend to forget that Downey was a cast member in the forgettable 1985-86 season that Quaid was a part of. There’s other performances that I could have included here (including other Avengers work), but I’ll give his first appearance in his signature role the attention it warrants.

6. John Belushi, National Lampoon’s Animal House (1978)

This is the first breakout role for a SNL cast member and it’s absolutely one of the best with Belushi’s iconic performance as John Blutarsky (or Bluto). You can still find his photo chugging Jack Daniels in many a college dorm across the country.

We will reach the top 5 in short order! Stat tuned…

Daily Streaming Guide: March 28th Edition

In these times, it’s certainly important to laugh and today’s Streaming Guide gives us two goofy comedies currently available on HBO’s viewing services:

2010’s MacGruber is a feature-length treatment starring Will Forte’s inept MacGyver type character that he originally debuted on SNL. It was not a hit upon release, but has found many fans over the past decade. I found it to be frequently uproarious with memorable supporting turns by Kristin Wiig and Val Kilmer. There’s also an, ummm, love scene between Forte and Wiig that won’t leave your psyche anytime soon.

2004’s Dodgeball: A True Underdog Story was a blockbuster a decade and a half ago. Headlined by Vince Vaughn and Ben Stiller, this silly sports tale about something we all played in gym hits more than it misses. In hindsight, the inspirational scene with Lance Armstrong towards the end seems… dated. Yet this is certainly good for some laughs.

That does it for now, folks! Until next time…

Oscar Watch: Where’d You Go, Bernadette

The fact that acclaimed filmmaker Richard Linklater’s latest effort lifted its review embargo one day before release could be seen as a red flag. Considering his previous pic Last Flag Flying didn’t particularly connect with critics or audiences might have been seen as a harbinger of things to come for Where’d You Go, Bernadette.

Reaction out today confirms the suspicions. The Cate Blanchett led mystery comedy, based on Maria Semple’s 2012 bestseller, holds just a 35% Rotten Tomatoes score at press time. Five years after Linklater’s Boyhood won and was nominated for multiple Oscars, it appears this will be quickly forgotten in the slow August frame.

Blanchett has managed some praise for her work. It’s been 15 years since she won Supporting Actress for Martin Scorsese’s The Aviator and 6 years since she took gold for her leading role in Woody Allen’s Blue Jasmine. She’s been nominated five other times.

I wouldn’t anticipate this will be #8. And overall – If Oscar watchers are looking for Bernadette come nominations time, they’ll be left wondering where it went. My Oscar Watch posts will continue…

Where’d You Go, Bernadette Box Office Prediction

Acclaimed director Richard Linklater brings his adaptation of a 2012 bestseller to the big screen with Where’d You Go, Bernadette. Based on Maria Semple’s comedic mystery, the pic casts two-time Oscar winner Cate Blanchett in the title role of an agoraphobic wife and mother who disappears. The story finds her daughter (Emma Nelson) tracking her whereabouts. Costars include Billy Crudup, Kristin Wiig, Judy Greer, Laurence Fishburne, Steve Zahn, and Megan Mullaly.

It’s been five years since Linklater’s Boyhood bowed to critical praise and multiple Academy nominations. Since then, his efforts Everybody Wants Some!! and Last Flag Flying have underwhelmed at the box office. The late summer release date here is curious as Bernadette is foregoing the festival circuit that often builds buzz for titles such as this.

Without that kind of chatter, the film will rely on fans of its source material. That could be a challenge for it to break out of mid single digits territory.

Where’d You Go, Bernadette opening weekend prediction: $5.6 million

For my The Angry Birds Movie 2 prediction, click here:

https://toddmthatcher.com/2019/08/06/the-angry-birds-movie-2-box-office-prediction/

For my Good Boys prediction, click here:

https://toddmthatcher.com/2019/08/07/good-boys-box-office-prediction/

For my 47 Meters Down: Uncaged prediction, click here:

https://toddmthatcher.com/2019/08/08/47-meters-down-uncaged-box-office-prediction/

For my Blinded by the Light prediction, click here:

https://toddmthatcher.com/2019/08/11/blinded-by-the-light-box-office-prediction/

How to Train Your Dragon: The Hidden World Box Office Prediction

Dreamworks Animation closes out its animated trilogy next weekend with the release of How to Train Your Dragon: The Hidden World. The critically acclaimed franchise began in 2010 with a sequel that followed four years later. Dean DeBlois, maker of the first two, returns to direct the third installment that comes with a reported budget of nearly $130 million. Actors providing voices include Jay Baruchel, America Ferrera, Cate Blanchett, Craig Ferguson, Gerard Butler, F. Murray Abraham, Jonah Hill, Christopher Mintz-Plasse, and Kristin Wiig.

Nearly a decade ago, the original Dragon debuted to $43 million and legged out nicely to an overall $217 domestic gross. The 2014 follow-up topped the opening of part 1 with $49 million. However, it ended up taking in $177 million total. While the studio certainly hopes for robust stateside sales, the series has been a juggernaut overseas (Dragon 2 made $621 million worldwide). The Hidden World is out in numerous foreign markets already and taken in $85 million thus far.

I’ll project this threequel gets in the range of what preceded it and put it in the middle of what they accomplished.

How to Train Your Dragon: The Hidden World opening weekend prediction: $44.7 million

For my Fighting with My Family prediction, click here:

https://toddmthatcher.com/2019/02/14/fighting-with-my-family-box-office-prediction/

Oscar Watch – How to Train Your Dragon: The Hidden World

We are just two days into the new year, but it’s already time for my first Oscar Watch post of 2019. That’s because How to Train Your Dragon: The Hidden World comes out in Australia tomorrow before its stateside release on February 22. Early reviews are out and the third and final installment of the Dreamworks Animation franchise is receiving solid ones. The action fantasy sequel stands at 100% currently on Rotten Tomatoes.

In 2010, the original Dragon nabbed a Best Animated Feature nod at the Oscars. Four years later, part 2 accomplished the same. Both pictures lost to titles coming from the mighty Mouse Factory – Toy Story 3 and Big Hero 6, respectively. The Disney competition will be fierce this year with Toy Story 4 and Frozen 2.

That said, even at this extraordinarily early date, the latest Dragon already looks like a serious contender for a nomination given the history of the series. My Oscar Watch posts will continue…