Life has a tendency of wrecking our plans, doesn’t it? Over the last couple of weeks – basically the beginning of summer movie season, so perfect timing! – I’ve missed a handful of screenings thanks to unexpected trips to the ER with one kid, year-end school/athletic events with another kid, and my own bout with strep throat for good measure.
As a result, I’ve had to adjust recent columns on the fly. My plan for you fine readers is to slowly play catch-up with films I’ve missed (especially this weekend’s John Wick: Chapter 3 – Parabellum) over the next few weeks, while also bringing you my thoughts on newer releases (like Aladdin).
In the meantime, thank goodness for Netflix. The streaming service has plenty of interesting options for homebodies who don’t like braving crowds at the multiplex – or contagious film critics who don’t want to cause a pandemic. That includes recent releases like the ones below.
Wine Country
(Rated R for crude sexual content, language and some drug material.)
Amy Poehler, making her directorial debut, reunites with some of her frequent SNL collaborators in this comedy about a group of longtime girlfriends (Poehler, Rachel Dratch, Ana Gasteyer, Maya Rudolph, Paula Pell and Emily Spivey, who also co-wrote the screenplay with Liz Cackowski) embarking on a weekend getaway to Napa for their pal’s 50th birthday. However, middle age isn’t as simple as their early-20s, so they risk ruining their trip by keeping secrets and letting old resentments rise to the surface.
While Wine Country doesn’t rise to the level of a modern classic like Bridesmaids, it’s still a fun hangout movie that’s perfect for Netflix. Not only does Poehler get to stretch her acting muscles by playing a slightly darker character than she’s typically known for, she also proves to be a fine director.
With a group of comedians this skilled, it would’ve been easy for her to just set up a camera and let them be the sole focus. Instead, she and veteran television cinematographer Tom Magill ensure the film is gorgeous as well as funny. There are quite a few sweeping shots of the California countryside and a hilarious sequence in a gigantic wine cellar that takes advantage of the massive space and dark shadows.
There’s even a funny “action” sequence near the end that allows Poehler to utilize some stunt performers, which I certainly wasn’t expecting. What’s more, Wine Country boasts a killer soundtrack that made me wonder just how big the film’s music budget was.
All the actresses get to show off their truly stellar comedy chops, especially Pell and Spivey (who mostly spent their time at SNL as writers, not cast members), but they also get a few opportunities to delve into slightly more serious subplots.
While everyone is a blast to watch, I was happy to finally see Dratch – fantastic as always – in a somewhat normal role after a career of playing oddballs. Rudolph proves yet again that she’s one of the all-time greats by getting laughs with an almost imperceptible gesture. In one particular scene, she delivers a reaction shot in response to a comment from Poehler’s character that made me laugh so hard I had to pause the movie.
Tina Fey is also strong in her small role as the owner of the rental property, but veteran character actress Cherry Jones swoops in and comes close to stealing the whole movie with her brief cameo as a blunt, pessimistic tarot card reader.
If I had to guess, Wine Country probably won’t become a word-of-mouth sensation like other recent Netflix comedies, but it’s one heck of resume builder for Poehler’s career. I’m already looking forward to whatever she decides to direct as a follow-up.
Grade: B-
Extremely Wicked, Shockingly Evil and Vile
(Rated R for disturbing/violent content, some sexuality, nudity and language.)
Documentary filmmaker Joe Berlinger dove deep into the horrific details of notorious serial killer Ted Bundy’s crimes in his recent Netflix series Conversations with a Killer: The Ted Bundy Tapes. However, his latest project suggests the director couldn’t shake the monster and his victims from his mind.
Pivoting from a 235-minute documentary to a more traditional crime thriller, Extremely Wicked, Shockingly Evil and Vile (a direct quote from the judge who sentenced Bundy to death) recounts a more condensed version of the psychopath’s killing spree and the media circus surrounding it. However, what differentiates this film from its predecessor is the point of view: it’s told from the perspective of Elizabeth Kendall, Bundy’s former girlfriend who played a role in bringing him to justice. In fact, Michael Werwie’s screenplay is adapted from Kendall’s memoir.
Clearly, the film’s biggest selling point is Zac Efron’s outstanding performance as Bundy. The actor is a long way from High School Musical and The Greatest Showman here, but he also proves he’s got much more to offer than just matinee idol looks. The role is a harrowing tightrope walk for several reasons. If Efron is too charming, the film risks exalting a serial killer. However, if he plays Bundy as an over-the-top monster, it does a disservice to many of the victims who were unfortunately deceived by his charisma.
Although Efron has the showier part, Lily Collins is also strong in the equally important (if not more significant) role of Liz Kendall. As the extent of Bundy’s horror show becomes clear, Collins conveys Kendall’s choice to internalize the trauma as a coping mechanism. She doesn’t get to do a lot of scenery chewing or deliver big monologues, so it’s even more impressive that her facial expressions and body language accomplish the same goal.
Several other talented actors pop up along the way in small roles, most notably John Malkovich as the eccentric judge who presides over Bundy's trial; Jim Parsons as the Florida prosecutor who finally puts Bundy away; and Haley Joel Osment as Kendall’s sympathetic co-worker. All of them deliver admirable work and suggest fully lived-in characters who exist even when they’re not on screen.
I was afraid Extremely Wicked would glorify or sensationalize Bundy and his crimes (even more than that era’s news coverage), but the compelling narrative structure prevents that from happening. Because we see the monster through his girlfriend’s eyes, he transforms over the course of the film. He is charming at first (though something always feels off), but his true nature is slowly revealed until everything becomes clear in the horrific final moments. The film certainly isn’t an easy watch, but it ends up being a rewarding one.
Grade: B
As a result, I’ve had to adjust recent columns on the fly. My plan for you fine readers is to slowly play catch-up with films I’ve missed (especially this weekend’s John Wick: Chapter 3 – Parabellum) over the next few weeks, while also bringing you my thoughts on newer releases (like Aladdin).
In the meantime, thank goodness for Netflix. The streaming service has plenty of interesting options for homebodies who don’t like braving crowds at the multiplex – or contagious film critics who don’t want to cause a pandemic. That includes recent releases like the ones below.
Wine Country
 |
| Courtesy of Netflix |
(Rated R for crude sexual content, language and some drug material.)
Amy Poehler, making her directorial debut, reunites with some of her frequent SNL collaborators in this comedy about a group of longtime girlfriends (Poehler, Rachel Dratch, Ana Gasteyer, Maya Rudolph, Paula Pell and Emily Spivey, who also co-wrote the screenplay with Liz Cackowski) embarking on a weekend getaway to Napa for their pal’s 50th birthday. However, middle age isn’t as simple as their early-20s, so they risk ruining their trip by keeping secrets and letting old resentments rise to the surface.
While Wine Country doesn’t rise to the level of a modern classic like Bridesmaids, it’s still a fun hangout movie that’s perfect for Netflix. Not only does Poehler get to stretch her acting muscles by playing a slightly darker character than she’s typically known for, she also proves to be a fine director.
With a group of comedians this skilled, it would’ve been easy for her to just set up a camera and let them be the sole focus. Instead, she and veteran television cinematographer Tom Magill ensure the film is gorgeous as well as funny. There are quite a few sweeping shots of the California countryside and a hilarious sequence in a gigantic wine cellar that takes advantage of the massive space and dark shadows.
There’s even a funny “action” sequence near the end that allows Poehler to utilize some stunt performers, which I certainly wasn’t expecting. What’s more, Wine Country boasts a killer soundtrack that made me wonder just how big the film’s music budget was.
All the actresses get to show off their truly stellar comedy chops, especially Pell and Spivey (who mostly spent their time at SNL as writers, not cast members), but they also get a few opportunities to delve into slightly more serious subplots.
While everyone is a blast to watch, I was happy to finally see Dratch – fantastic as always – in a somewhat normal role after a career of playing oddballs. Rudolph proves yet again that she’s one of the all-time greats by getting laughs with an almost imperceptible gesture. In one particular scene, she delivers a reaction shot in response to a comment from Poehler’s character that made me laugh so hard I had to pause the movie.
Tina Fey is also strong in her small role as the owner of the rental property, but veteran character actress Cherry Jones swoops in and comes close to stealing the whole movie with her brief cameo as a blunt, pessimistic tarot card reader.
If I had to guess, Wine Country probably won’t become a word-of-mouth sensation like other recent Netflix comedies, but it’s one heck of resume builder for Poehler’s career. I’m already looking forward to whatever she decides to direct as a follow-up.
Grade: B-
Extremely Wicked, Shockingly Evil and Vile
 |
| Courtesy of Netflix |
(Rated R for disturbing/violent content, some sexuality, nudity and language.)
Documentary filmmaker Joe Berlinger dove deep into the horrific details of notorious serial killer Ted Bundy’s crimes in his recent Netflix series Conversations with a Killer: The Ted Bundy Tapes. However, his latest project suggests the director couldn’t shake the monster and his victims from his mind.
Pivoting from a 235-minute documentary to a more traditional crime thriller, Extremely Wicked, Shockingly Evil and Vile (a direct quote from the judge who sentenced Bundy to death) recounts a more condensed version of the psychopath’s killing spree and the media circus surrounding it. However, what differentiates this film from its predecessor is the point of view: it’s told from the perspective of Elizabeth Kendall, Bundy’s former girlfriend who played a role in bringing him to justice. In fact, Michael Werwie’s screenplay is adapted from Kendall’s memoir.
Clearly, the film’s biggest selling point is Zac Efron’s outstanding performance as Bundy. The actor is a long way from High School Musical and The Greatest Showman here, but he also proves he’s got much more to offer than just matinee idol looks. The role is a harrowing tightrope walk for several reasons. If Efron is too charming, the film risks exalting a serial killer. However, if he plays Bundy as an over-the-top monster, it does a disservice to many of the victims who were unfortunately deceived by his charisma.
Although Efron has the showier part, Lily Collins is also strong in the equally important (if not more significant) role of Liz Kendall. As the extent of Bundy’s horror show becomes clear, Collins conveys Kendall’s choice to internalize the trauma as a coping mechanism. She doesn’t get to do a lot of scenery chewing or deliver big monologues, so it’s even more impressive that her facial expressions and body language accomplish the same goal.
Several other talented actors pop up along the way in small roles, most notably John Malkovich as the eccentric judge who presides over Bundy's trial; Jim Parsons as the Florida prosecutor who finally puts Bundy away; and Haley Joel Osment as Kendall’s sympathetic co-worker. All of them deliver admirable work and suggest fully lived-in characters who exist even when they’re not on screen.
I was afraid Extremely Wicked would glorify or sensationalize Bundy and his crimes (even more than that era’s news coverage), but the compelling narrative structure prevents that from happening. Because we see the monster through his girlfriend’s eyes, he transforms over the course of the film. He is charming at first (though something always feels off), but his true nature is slowly revealed until everything becomes clear in the horrific final moments. The film certainly isn’t an easy watch, but it ends up being a rewarding one.
Grade: B
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