Cafe Society

**Spoiler Alert**

Director: Woody Allen/Starring: Jesse Eisenberg, Kristen Stewart, Steve Carell, Blake Lively, Corey Stoll, Sari Lennick, Ken Stott, Parker Posey and Jeannie Berlin

These days, I'm always prepared to write Woody off, particularly after his last two forgettable efforts; Magic in the Moonlight and Irrational Man. But with Woody, consigning him to oblivion is always a mistake, for he can still surprise, as with Blue Jasmine. I'm happy to say he has done so again with Cafe Society; his new story about ideal love and its emotional pitfalls. Though some scenes and plot points resemble moments from his cinematic past, he shows he can still write terrific dialogue and give his characters dimension and depth. In his latest, we see his characteristic charm, wit and his romantic pessimism about love but also present is his irrepressible romanticism, particularly for the city he loves most. Cafe Society is fun, funny and is irresistibly charming.

Set in 1930s', Woody narrates his own story about a young man; Bobby Dorfman (Jesse Eisenberg), who leaves Brooklyn for the sunny coast of southern California. Hoping to find a job with his wildly successful Uncle; Phil Stern (a terrific Steve Carell) in his casting agency, he stakes out temporary digs in a hotel and waits for a meeting. Lonely and hungry for female companionship, Bobby arranges for a call girl to visit his hotel room, but finds he is her very first customer. The failed encounter yields funny results.

In another scene, we see Phil hosting a swank Hollywood party in his home. Sitting poolside, Phil talks with all manner of movie industry people, dropping names of stars in nearly all his conversations.

As the story moves forward, Woody's narration remains steady, embellishing the story and providing insightful comments about the characters. We meet others, like Bobby's older brother Ben (excellent Corey Stoll), whose life in organized crime troubles his mother Rose (Jeannie Berlin). Though Rose's relationship with her husband Marty (Ken Stott) is contentious; their arguments contain some of the film's funniest lines. Another character is Bobby and Ben's sister, Evelyn (Sari Lennick), who stays in touch with her little brother via letters, which, when read; provide the film supplementary narration.

Bobby is finally granted a few minutes with his Uncle and after a what-are-you-doing-out-here probing overture, he explains his want of a change of scenery and a job in the agency. Although Phil initially mentions the mail-room, he suggests Bobby run errands for him. He then introduces Bobby to one of his secretaries; an lovely young woman named Veronica (a luminous Kristen Stewart, made more so by soft focus), or Vonnie. As Vonnie shows Bobby around, sparks crackle and glow between them. Before long, Vonnie and Bobby enjoy lunches and drinks together until one day he feels confident enough to ask her out. She tells him she is seeing someone but enjoys his friendship, which continues in spite of his rejection. Bobby (and we) learn Vonnie is one of the many young women who migrated to Tinseltown hoping to make it in the movies before becoming disillusioned.
The conversations between Vonnie and Bobby are often magical. Woody shows he can still craft intelligent dialogue that is also pleasing to the ear. Some of the best moments in the film are Bobby and Vonnie's tete a tetes.

In time, Bobby finds himself meeting his Uncle's big name associates, who bandy the names of stars and starlets about, which becomes a source of annoyance to both he and Vonnie. But life in Hollywood has a way of working on those most resistant to its charms. Vonnie herself shares an anecdote about Samuel Goldwyn and his peculiar voice.

The visuals in the Hollywood party scenes are particularly intriguing. In nearly every scene featuring an industry soiree, we see the guests dressed uniformly in khaki-color clothes. Woody's cinematographer; the famed Vittorio Storaro, casts everything in soft, golden light, as if to compete with the soft hues of khaki. The effect leaves us with something fairy-talish; a heady foray into the unreal.
Hollywood's seductive but shallow charms begin to wear on Bobby. He finds the beautiful women, stars and the lush mansions to be a fascinating curiosity but they eventually lose their charm. He begins to miss New York. Before long, he plans his return home. But complicating his idea is his relationship with Vonnie, which takes a dramatic leap from the platonic to romantic. In love and happy, Bobby plans for their marriage and their move to New York, where his brother Ben has offered him a job running his nightclub. But before Bobby's plans are consummated, the plot takes a startling twist when Bobby discovers the man Vonnie has been seeing is none other than Phil, who plans to leave his wife for her. Phil later tells her he is unable to walk away from his 25-year marriage, only to experience yet another change of heart. The situation becomes stickier when Phil and Bobby become aware of the other's interest in Vonnie. Faced with a painful decision, Vonnie chooses Phil, leaving Bobby to return to New York, alone and crestfallen.

Bobby's east-coast homecoming serves as a transition to Part II, as he leaves his Los Angeles experiences behind for his brother's nightclub, which he helps christen The Cafe Society. Bobby becomes popular with the nightclub set, which is a colorful mix of the city's upper crust society and members of New York's active social scene. Excelling at his job and taking to the club's giddy atmosphere, Bobby is able to put Los Angeles behind him.

One evening, he meets a beautiful blonde, whose name also happens to be Veronica (Blake Lively, who was kicking shark butt the last time we saw her onscreen). I found this contrivance to be a little too convenient but oh well. The two quickly fall in love, which leads to a happy courtship and marriage; helped along with a surprise pregnancy.

Of course Woody won't let us forget Vonnie, who happens to drop back into his life one evening when she and Phil appear at the nightclub. The scene where Bobby stands before their table; staring dumbstruck at Vonnie, may remind one of the scene in Crimes and Misdemeanors where Woody's character happens upon Mia Farrow's at a wedding where she is embraced by his rival. Dismayed at seeing Phil and Vonnie together, Bobby reluctantly sits down to chat but excuses himself after she tries to regale the table with a long-winded, gossipy Hollywood story; the type he and she once loathed. It isn't long before the two meet for coffee, which reawakens their latent love for one another. One knows how it will play out if one has seen enough Woody Allen films. The key word is melancholy.
A significant subplot unfolds; involving Ben and his violent, criminal past, which has a grim but almost inevitable outcome.

Woody manages his multi-character story with aplomb and like his best work, makes us care about them. He has helped create one of the movie industry's emerging great couples in Jesse Eisenberg and Kristen Stewart, whose onscreen romance marks their third together. How and why such an offbeat pairing works so well can be chalked up to the mysteries of chemistry but they are magical together; particularly in a scene where the two share an intimate moment on a Central Park bridge; the skyline a romantic tableau. Woody's other characters are wonderful, particularly Corey Stoll as Bobby's thuggish brother and Jeannie Berlin, who is quite amusing as Bobby's mother.

Woody still has it. He is still capable of making good films. Everything that characterizes his best films is conspicuous here. Terrific camera work, beautiful cinematography and brilliant performances. Let's not forget witty dialogue and great lines. My favorite: live every day as if it were the last and one day it will be true.

Cafe Society isn't a Woody masterpiece but it redeems his last two efforts and it is done well. It might not set the world of cinema alight but it is a mild intoxicant. In summers, bad Hollywood is the occupying force, but films like Woody's always come along to give us respite from the drek. Let's hope he has more of these films in his bag.

Ant-Man

**Spoiler Alert**

Director: Peyton Reed/Starring: Paul Rudd, Michael Douglas, Bobby Cannavale, Evangeline Lilly, Michael Pena, Judy Greer, Corey Stoll, Abby Ryder Fortson and Martin Donovan

If you thought you had seen the last of the summer superhero flicks after The Avengers: Age of Ultron, you might disappointed/delighted to find another offering from Marvel Studios in the theaters this week: Ant-Man. I find myself a member of the delighted camp (with reservations) and must say I mostly liked the movie. Much of that has to do with the more humorous approach of director Peyton Reed's story and the very welcome refrain from apocalyptic destruction other Marvel adaptations visit upon movie-going audiences. Meaningless, mindless carnage is kept to a bare minimum and sometimes, as in the case of a battle on a toy train-set, the action can be funny.

And who better to play the title character than Paul Rudd, the funny-man doofus who seems cast against type. But in a movie that prides itself on being cheeky, Rudd is the ideal choice to keep the story and action from becoming self-serious and earnest.

Paul Rudd plays Scott Lang; a parolee who has just served a sentence for robbing a corporate giant in an attempt to compensate everyone who was bilked by the company. Educated as a mechanical engineer, Lang's smarts can't protect him from a post-parol job at Baskin Robbins, where he is summarily dismissed when his boss learns of his criminal past. Unable to earn a living, Lang decides to commit another robbery with help of sketchy associates, who provide even sketchier information about a safe supposedly loaded with treasure.

Lang is reluctant to commit another crime, given the fact he has been unable to see his daughter Cassie (Abbie Ryder Fortson), from whom he is denied contact by his ex-wife Maggie (Judy Greer, in a role that barely registers as a blip), and her new husband Paxton (Bobby Cannavale, a more substantial character), who is a less than accommodating.

Faced with destitution and eager to earn money to maintain a lifestyle that would enable him to see his daughter, Lang agrees to the robbery plan hatched by he and his three friends; Luis (Michael Pena), Kurt (David Dastmalchian) and Dave (T.I.). Unfortunately, Lang finds the robbery is part of an elaborate plan by the scientist Dr. Hank Pym (Michael Douglas) to allow an amazing suit of his own design to be stolen by the ex-convict, for reasons that become clearer later. The suit allows the wearer to shrink to the size of an ant but still retain his/her full-sized strength.

When the film begins, we see Pym twenty years earlier, when his corporation still bore his name. Faced with an unscrupulous executive board who want to sell his suit technology to the military, Pym refuses to share his plans lest the suit falls into enemy hands. As a result, Pym is dismissed from his position but buries the plans, though the board carries on the research, hoping to find or discover the key component of the suit.

Back in the present and unbeknownst to Lang, Pym wants the ex-convict to use his burgling expertise to steal the suit his former corporation has developed from his original plans. The new suit also enables the wearer to shrink to the size of an insect (in this case, a yellow jacket) but unlike Lang's, the yellow jacket suit comes equipped with weaponry.

Pym's daughter Hope (Evangeline Lilly) becomes a willing participant in the imminent theft of the yellow jacket, though her involvement represents a conflict of interest, due to her employment with Pym's former company. Hope was part of the voting majority that helped dismiss her father from Pym Industries. For Hope, the theft not only means stopping the sale of the suit to the military, but the plan also serves as means to reestablish relations with her father.

It is great fun watching Lang learn to use the ant suit. In an exercise where Lang is expected to run at full speed then pass through a keyhole and re-materialize in normal proportions, Lang crashes into the door repeatedly. Lang also learns that Pym has also developed a communications device that allows him to issue commands to ants, who will play key roles in the robbery attempt. Hope teaches Lang about the different varieties of ants he is to work with and how to command them to perform certain tasks.It is not uncommon for Lang to accidentally revert to normal size in the ant tunnels; an amusing development that allows us to chuckle at the sight of Lang's upper body suddenly sprouting up from the ground.

Another highly entertaining sequence involves a task Dr. Pym devises to further test Lang's skills in the ant suit. He assigns him a mission to steal an item from Stark Industries; a piece of technology he designed that is now in the hands of Tony Stark. Lang is dismayed to discover the complex he is asked to break into has been converted into Avengers' headquarters. The subsequent scenes where Black Falcon tries to prevent Ant-Man (Lang) from breaking into the complex demonstrates the ant suit's effectiveness. Black Falcon finds Ant-Man's constant shrinking and ability to punch a exasperating, in spite of his own technologically-sophisticated suit.

Pym's and Lang's nemesis is current CEO of what was formerly Pym Industries; Darren Cross (Corey Stoll), who has few qualms about exploiting the technology Dr. Pym developed.

The latter half of the story is the elaborate plan to steal back the suit Cross keeps securely inside corporate headquarters. Ant-Man leads an assault of ants as they ride a wave of water into the complex to locate the suit, only to find Cross has donned it himself. A showdown between Ant-Man and Yellow-Jacket follows soon after, which carries on beyond corporation property and ultimately into his former wife's home, where Cross hopes to kidnap Lang's daughter. A fierce battle ensues, which takes partly on a train set; an action sequence that comes with its own humorous moments.

Of course the film couldn't end without what has become a staple in Marvel adaptations; the sequel set-up. I will say no more.

As previously stated, the idea to make the movie action/comedy was a sound idea. The world doesn't need one more comic book movie with gravitas (though more are to come, I'm sure). It's nice to see a lighter superhero movie; one that doesn't leave one's ears ringing and head splitting with auditory aggression.

And unlike most superhero movies, performances are more the centerpiece of this film. Paul Rudd has to be one of the most likeable screen presences in the movie industry today but also one of the funniest. I'm glad we'll see more of him in Ant-Man films to come. Michael Douglas isn't an actor one usually finds Marvel adaptations but he proves to be as entertaining as Rudd. It was very pleasing to see Martin Donovan (always a welcome presence. I always thought him to be underrated and under-appreciated actor), who plays Mitchell Carson; another unscrupulous board member who is a collusive agent of Darren Cross' evil designs. Evangeline Lilly is charming and shares some nice chemistry with Rudd. We also learn we can expect to see more of her in future iterations.

One of the most inspired scenes in the movie shows Lang shrinking to the quantum level, after Pym warns him that entering such a realm may mean an eternity in sub-atomica. The sequence is visually imaginative and abstractly arresting while also providing sustained suspense.

I won't tell you Ant-Man is brilliant popcorn cinema but it is fun and diverting and a good excuse to seek refuge from angry summer weather. It appears we may see Scott Lang and Tony Stark together in the near future. It could be fun to watch Scott Lang and Tony Stark--the other funny Marvel superhero--engage in some amusing repartee. We'll wait and see. For now, I'll savor Reed's flick.

This is Where I Leave You

**Spoiler Alert**

Director: Shawn Levy/Starring: Justin Bateman, Jane Fonda, Rose Byrne, Tina Fey, Kathryn Hahn, Adam Driver, Connie Britton, Timothy Olyphant and Corey Stoll

I wonder if Hollywood will ever tire of comedy/dramas centered around families gathering at a funerals. I've seen three such films this year: the awful August: Osage County, the awfuler Lullaby (which employs a dying father as motivation for a family to gather) and now This is Where I Leave You, which is not the awfulest of the tribe but pretty damn close. All the films use the done-to-death funeral plot contrivance as a way for characters to air out grievances, address past wrongs and renew old familial feuds.

Shawn Levy's film, based on a novel by Jonathan Tropper, employs all the familiar aforementioned narrative traits. And like other movies of this breed, it becomes unbearably monotonous...and fast. That Levy assembled such a talented cast for this nonsense is quite impressive but it becomes less so when it becomes clear they have nothing to say, though they say it compulsively. Whenever anyone feels the need to verbalize, which is frequently, they spew stagy dialogue where everyone has a pithy rejoinder to a smart-ass or self-consciously inappropriate comment.

The story centers on Justin Bateman's character Judd Altman; a producer of a popular shock-jock radio show whose star Wade Beaufort (Dax Shepard) is the Platonic ideal of jerkitude. When Judd arrives home early one day with a birthday cake for his wife, he finds Wade in bed with his wife. If that isn't enough of a cross to bear, he also receives a phone call from his sister Wendy (Tina Fey), informing him of their father's death.

As Judd's family gathers for the funeral, we meet each member and become acquainted with their quirks, personal issues and internecine, sibling strife.

Hilary Altman (Jane Fonda), the family matriarch, has just lost her husband and though bereaved, wears mourning attire that highlights her newly augmented breasts. This becomes joke-fodder for the family, which left me feeling queasy. I don't know if it's a cultural norm with those of the Jewish persuasion, but we hear the Altman family make many explicit comments about sex, particularly when it involves siblings or the mother. I'm no prude, but I would think most families would find sharing comments about their mother's breasts and their brother's masturbatory habits taboo subjects. As Judd and his mother lay out a basement bed for his stay, Hilary's breasts dangle from her bathrobe. After urging his mother to cover up, she gently chides him for finding the sight of her breasts objectionable.

Judd's family and extended family arrive at Hilary's home with their respective life-baggage. Wendy's husband is emotionally unavailable and overly devoted to his career, brother Phillip (Adam Driver) is unemployed, unemployable and in therapy, and another brother Paul (Corey Stoll) is having trouble impregnating his wife while also struggling to maintain control of the family sporting goods business, of which the siblings all share part-ownership.

Phillip also has his therapist/girlfriend in tow; Tracy (Connie Britton), an older woman whose attraction to the younger man conflicts with her misgivings about his immaturity and penchant for seeing other women.

What one is wont to find in films of this variety are former classmates, crushes or friends the characters encounter. Judd runs into Penny (Rose Byrne), a former schoolmate for whom he develops a romantic interest. His volatile relationship with his wife of course complicates the attraction.
Wendy also has her romantic furnace stoked by family friend and sporting goods employee Horry Callen (Timothy Olyphant). Horry is afflicted with a mild mental impairment which stems from a head injury he received while in Wendy's company during an accident in the past. Like Judd's affection for Penny, Wendy's attraction to Horry fills an emotional void in her marriage and represents some unfinished, romantic business. Upon the first meetings between Judd and Penny and Wendy and Horry, we know intuitively--as if it were written in sky--where these sub-plot developments will lead.

It seems impossible to square Phillip's ability to charm women with his personality. How any woman could find such an a-hole supernova like Phillip attractive sorely tests our ability to suspend disbelief. Adam Driver seems to have no difficulty playing such obnoxious lunkheads, for only recently he played another in What If. I sincerely hope he strays from this pigeon-holing in the future otherwise he may not be able to play anything else convincingly.

It seems Jane Fonda can only appear in a film (these days, anyway) to show us how great she looks. Of course she can hardly be blamed for her character limitations when Hollywood has no idea how woman older than 40 behave and think. And they don't want to know. It is mind-blowing to consider Fonda is now 77 though her figure is that of someone less than half her age. If only someone could and would write her a character with some depth and dimension to challenge her beauty.

As the family occupies Hilary's house, animosities arise and secrets are unearthed. Most character's secrets seem to be revealed like clockwork; every 15 minutes or so, which are followed by blather like "why didn't you tell us/me?," and glib jokes and comments. When Hilary divulges her big secret near the end, it comes off more as a plot accessory rather than something plausibly organic. And what is typical of this genre is behavior that screams "though we're dysfunctional, aren't we so quirky and lovable?"

I saw the film with a capacity crowd, one that laughed uproariously at what I found to be somewhat clever but unfunny jokes or gags. Some aren't so clever. Paul's son's potty-training tendencies, which involve his hauling his potty around, are played for laughs but are just painfully cutesy.

A crowd's reaction is never a reliable gauge of a film's comedic or dramatic value. Though it is fun to watch a film with a large audience, collective laughter or applause can distort one's perception of the film. Over the din of laughter, I somehow managed to see through the formulae and the stock characterizations. I'm sure critics and other filmgoers will too.

I really wished I could have told the characters to shut up for five minutes. The noise generated by the family's incessant chatter made my head hurt. When smart-alecky jokes and jibes weren't being sprayed like buckshot, dime-store platitudes made reliable surrogates.

I may have to avoid films like This is Where I Leave You forever hereafter. But given my inability to ever learn a lesson, I could very well grouse next time too.