Is it a Yes or a No, ‘Dog Man’?

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What’s up, Dog (Man)? (CREDIT: Universal Pictures/DreamWorks Animation)

Starring: Peter Hastings, Pete Davidson, Lil Rel Howery, Lucas Hopkins Calderon, Isla Fisher, Ricky Gervais, Cheri Oteri, Billy Boyd, Stephen Root, Poppy Liu, Laraine Newman, Melissa Villaseñor, Kate Micucci, Maggie Wheeler, Pearce Bunting, Max Koch, Rahnuma Panthaky

Director: Peter Hastings

Running Time: 89 Minutes

Rating: PG for The Typical Animated Mayhem

Release Date: January 31, 2025 (Theaters)

What’s It About?: Officer Knight and his canine companion Greg are one of the best crime-fighting duos in the city. That is, until a major accident renders Knight’s head and Greg’s body unusable. So their doctors decide to make lemonade and fuse the two of them together to form the titular Dog Man (barks and whines provided by writer-director Peter Hastings)! That would seemingly make him the perfect foil for the incorrigible feline criminal Petey (Pete Davidson), but alas, Dog Man gets off on the wrong foot with his Chief (Lil Rel Howery) and the Mayor (Cheri Oteri) and ends up having to stay on desk duty. Meanwhile, Petey obtains a clone of himself named Lil’ Petey (Lucas Hopkins Calderon), who may just soften his heart and convince him to become a doting father instead of a criminal mastermind.

What Made an Impression?: You Got to Be Silly: Dog Man is based on the graphic novel series of the same name by Dav Pilkey, who’s probably best known for Captain Underpants, which got its own big-screen adaptation back in 2017. I’m familiar with Pilkey’s output via pop culture osmosis, but this is my first time actually diving into what he has on offer. And now that I’ve been exposed, I must say: I hope I have kids soon so that we can fully explore the Pilkey-verse together. Simply put, this is silly sophomoric humor done cleverly and colorfully. Dopey wordplay and visual gags abound, befitting a world in which a canine-human hybrid is the hero.
Family Matters: Considering all the unabashed silliness on display, you might be surprised to learn that Dog Man also isn’t afraid to get heavy. To be clear, it’s not like it’s an unrelenting tearjerker about cancer and/or addiction. Nevertheless, you might find yourself shedding a tear or two. For example, after Officer Knight and Greg become Dog Man, they’re unceremoniously abandoned by Greg’s wife, who apparently couldn’t bear to ever see her husband and fur baby fused together. Meanwhile, Petey’s villainy seems to be entirely fueled by his abandonment issues with his own deadbeat dad (Stephen Root). These themes don’t weigh down the wackiness, but they certainly make themselves known. So if you want a steady stream of ultra-silly laughs with a side of genuine family therapy, Dog Man has you covered.

Dog Man is Recommended If You Like: Weird Al, Looney Tunes, “Cat’s in the Cradle”

Grade: 3 out of 5 Copz

2-for-1 Movie Review: How to Paint a Pipeline

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CREDIT: IFC Films; NEON

How to Blow Up a Pipeline

Starring: Ariela Barer, Kristine Froseth, Lukas Gage, Forrest Goodluck, Sasha Lane, Jayme Lawson, Marcus Scribner, Jake Weary, Irene Bedard, Olive Jane Lorraine

Director: Daniel Goldhaber

Running Time: 100 Minutes

Rating: R for Nights of Debauchery Amidst the Activism

Release Date: April 7, 2023 (Theaters)

Paint

Starring: Owen Wilson, Michaela Watkins, Stephen Root, Wendi McLendon-Covey, Ciara Renée, Luisa Strus

Director: Brit McAdams

Running Time: 96 Minutes

Rating: PG-13 for Weird Sexiness and Pipe Smoking

Release Date: April 7, 2023 (Theaters)

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‘The Tragedy of Macbeth’ Review: Shakespeare in the Dark

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The Tragedy of Macbeth (CREDIT: Alison Cohen Rosa/A24)

Starring: Denzel Washington, Frances McDormand, Corey Hawkins, Brendon Gleeson, Harry Melling, Bertie Carvel, Alex Hassell, Kathryn Hunter, Moses Ingram, Ralph Ineson, Sean Patrick Thomas, Stephen Root, Brian Thompson, Richard Short

Director: Joel Coen

Running Time: 105 Minutes

Rating: R for Bloody Swordplay

Release Date: December 25, 2021 (Theaters)/January 14, 2022 (Apple TV+)

When reviewing a new Shakespeare adaptation, especially one of the Bard’s most popular productions, it makes sense to ask: what makes this version different? So as Joel Coen goes solo to take on The Scottish Play, what uniqueness has he brought to the table? Well, he did cast his wife Frances McDormand as Lady Macbeth, so that could potentially be some fertile ground for psychoanalysis. Or maybe not! She’s already been in plenty of his films, and I’m willing to guess that this isn’t the first time that a director’s wife has been cast in something Shakespearean. Denzel Washington certainly brings some more melanin than usual to the title role, but ultimately that’s neither here nor there. He’s Denzel Washington after all, so why not cast him in one of the most dramatically hefty parts in all of English-language drama?

Overall, one word comes to mind when trying to identify The Tragedy of Macbeth‘s uniqueness, and that word is: surreal. I don’t know if that’s what Coen was specifically aiming for, and I in fact wouldn’t be surprised if it wasn’t a consideration at all. But no matter how it happened, it showed up. One huge reason for that is the dialogue itself; it’s strange to speak in iambic pentameter all the time, after all. On top of that, the geography within the castle walls never quite makes visual sense. Instead, it’s like a maze that the characters are perpetually stuck within. Combine that with Bruno Delbonnel’s stark black-and-white cinematography, and the whole film comes across as a dream that curdles into a nightmare. And as so often happens when I see a movie that lacks bright colors, I nodded off throughout, which only added to the sense that I slipped through some parallel dimension or underworld.

One more element that really stands out is Kathryn Hunter’s performance as the witchy weird sisters. She contorts herself into seemingly inhuman positions, which is a wise acting decision, considering that her characters are meant to be somewhere in between human and supernatural. I didn’t ask to see a huge disembodied toe stuck between someone else’s toes, but now I won’t be able to forget it. Nor will I be able to forget the shot of the one sister standing over a pool that reflects back the other two sisters. This is a striking Shakespearean adaptation, is what I’m saying.

The Tragedy of Macbeth is Recommended If You Like: Claustrophobia, Cruel fate, Maximum weirdness

Grade: 3.5 out of 5 Usurpers

‘Happily’ Ponders Whether or Not Transcendentally Happy Marriages Are Allowed to Exist

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Happily (CREDIT: Saban Films)

Starring: Joel McHale, Kerry Bishé, Stephen Root, Natalie Zea, Paul Scheer, Natalie Morales, Jon Daly, Kirby Howell-Baptiste, Shannon Woodward, Charlyne Yi, Breckin Meyer, Al Madrigal

Director: BenDavid Grabinski

Running Time: 95 Minutes

Rating: R for A Very Horny Couple and Other Couples Who Wish They Were That Horny

Release Date: March 19, 2021 (Theaters and On Demand)

Do you know a married couple who are so in love that you absolutely hate them for it? That’s the hook of Happily, and it’s a good one. Tom and Janet (Joel Mchael and Kerry Bishé) said “I do” 14 years ago, but even after all that time, every time they look at each other it’s like they’re discovering the entire concept of love for the very first time. They can barely go five minutes without going all the way in the nearest bedroom. Their conflicts (insofar as they have any conflicts at all) consist of little more than one of them asking for an omelette, but then doing it on their own, and immediately apologizing for being ever-so-slightly thoughtless. But then one day a fellow played by Stephen Root in a business suit shows up at their doorstep, and he might as well have a flashing sign shouting “DANGER!” above his head.

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This Is a Movie Review: Felicity Jones’ Spirited Ruth Bader Ginsburg Portrayal Helps ‘On the Basis of Sex’ Overcome Some Biopic Clichés

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CREDIT: Focus Features

This review was originally published on News Cult in December 2018.

Starring: Felicity Jones, Armie Hammer, Justin Theroux, Cailee Spaeny, Sam Waterston, Stephen Root, Jack Reynor, Kathy Bates

Director: Mimi Leder

Running Time: 120 Minutes

Rating: PG-13 for The Occasionally Offensive Language of the Law

Release Date: December 25, 2018 (Limited)

It is slightly disorienting to have both a documentary and a based-on-true-life narrative film about the same living person open in one year. But for certain subjects, there is value be to had in exploring familiar territory via multiple formats. For someone as influential as Supreme Court Justice Ruth Bader Ginsburg, her increased level of media attention has not diluted her potential for cinematic inspiration. On the Basis of Sex, Mimi Leder’s portrait of a young and hungry Ginsburg, wisely focuses on one chapter in her legal journey. And when it missteps, it is not because it retreads the same territory that RBG already covered sufficiently.

The focus is on the 1970 case of Charles Moritz, a never-married bachelor caring for his sick mother who is denied a caregiver tax deduction because at the time it was available only to women, widowers, and divorcees. Ginsburg, who was then a law professor at Rutgers, teams up with the ACLU to take on Martin’s case, and in addition to representing this one man, they set out to demonstrate how so much of the U.S. legal code discriminates (as the title says) “on the basis of sex,” and how that harms both women and men. That could be cinematic overreach, except for the fact that the real Ginsburg has very much committed her career to making the law more equitable.

On the Basis of Sex works best when it focuses on the truths of relationships, and there is plenty of material to be mined within the Ginsburg household. Ruth and her husband Marty (Armie Hammer), here seen as a fast-rising tax lawyer, are equal partners, though not without their disagreements (like any marriage). But what makes their tension bearable, or even admirable, is that it is based on a shared desire to fight for what is right. Ruth’s relationship with her teenage daughter Jane (Cailee Spaeny), however, is much more explosive, in the way that mother-daughter relationships often are at that age. You kind of want Jane to cut her mom some slack, because she is Ruth Bader Ginsburg after all. But sometimes kids can be their parents’ toughest critics, sometimes unfairly, sometimes rewardingly, or both in this case. There are a few moments that reek of over-inspirational biopic excess, like Ruth suddenly becoming struck with inspiration in the middle of a rainstorm. But for the most part, On the Basis of Sex knows how to capture the fight for justice and its beating human heart.

On the Basis of Sex is Recommended If You Like: Inspirational clichés, To Kill a Mockingbird, Legally Blonde

Grade: 3 out of 5 Closing Statements

This Is a Movie Review: The Coen Brothers Sing ‘The Ballad of Buster Scruggs’ and Other Tales in This Western Anthology

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CREDIT: Netflix

This review was originally published on News Cult in November 2018.

Starring: Tim Blake Nelson, James Franco, Stephen Root, Tom Waits, Liam Neeson, Harry Melling, Zoe Kazan, Bill Heck, Tyne Daly, Brendan Gleeson

Directors: Joel and Ethan Coen

Running Time: 132 Minutes

Rating: R for Surprisingly, Perhaps Hilariously, Deadly Gunfire

Release Date: November 8, 2018 (Limited Theatrically)/November 16, 2018 (Streaming on Netflix)

The Ballad of Buster Scruggs has a Buster Scruggs problem. That is to say: Buster’s not in it enough! That can be the trouble with anthology films in which no characters appear in more than one segment. This issue can be alleviated, at least somewhat, if there are multiple memorable roles. But when Tim Blake Nelson saunters into town in his white cowboy suit, guitar in tow, he immediately wins us over with his storytelling aplomb, extreme self-confidence, and superhuman marksmanship. As Buster’s is the first story, he sets a rollicking, self-aware tone that makes us want to spend as much time with him as possible. Alas, it is not meant to be. But surely, he could have been a narrator or a wandering troubadour throughout! As it is, though, his arrival brings us pleasure, while his quick departure only leaves us hungry for more.

The other segments are more scattershot, but if you believe that the Coen brothers’ droll humor belongs in a Western setting, then you should find enough to enjoy. The three chapters immediately following the titular kickoff – in which bank robber James Franco gets his comeuppance, Liam Neeson puts on a travelling show, and Tom Waits goes prospecting for gold, respectively – wrap up before they are able to have much of an impact. It gets better and deeper with “The Girl Who Got Rattled,” in which Zoe Kazan plays a single frontierswoman who must summon an unexpected amount of independence, while also dealing with a surprising, but perhaps promising, marriage proposal. It’s actually quite sweet, but then a Coen-style cruel twist of fate swoops in, leaving you a little devastated but narratively satisfied. The concluding chapter, “The Mortal Remains,” is more of a tone piece than anything else, with a group of strangers in a carriage on its way to somewhere resembling purgatory, or maybe even Hell. As one of the passengers, Tyne Daly is a force of nature to bring us home, but even she cannot quite protect us in this harsh landscape. It’s an otherworldly approach befitting filmmakers who are heavily influenced by the Old Testament God, and while I may find The Ballad of Buster Scruggs to be a minor Coen effort, it is not without plenty to chew over.

The Ballad of Buster Scruggs is Recommended If You Like: Coen brothers comedy in general, but can deal with scattershot results

Grade: 3 out of 5 Color Plates