Tag: Awkwafina

Review: ‘The Bad Guys,’ starring the voices of Sam Rockwell, Marc Maron, Awkwafina, Craig Robinson, Anthony Ramos, Zazie Beetz and Richard Ayoade

April 21, 2022

by Carla Hay

Tarantula (voiced by Awkwafina), Snake (voiced by Marc Maron), Shark (voiced by Craig Robinson), Piranha (voiced by Anthony Ramos) and Wolf (voiced by Sam Rockwell) in “The Bad Guys” (Image courtesy of DreamWorks Animation)

“The Bad Guys” (2022)

Directed by Pierre Perifel

Culture Representation: Taking place in an unnamed city that resembles Los Angeles, the animated film “The Bad Guys” features a cast of characters depicting talking animals and humans.

Culture Clash: Five talking animals, which have reputations for being villains that scare people, are in a thieving gang and have various conflicts about their reputations and redemptions.

Culture Audience: “The Bad Guys” will appeal primarily to people interested in adventure-filled animated films that have messages about the dangers of misjudging people based on physical appearances.

Diane Foxington (voiced by Zazie Beetz) and Wolf (voiced by Sam Rockwell) in “The Bad Guys” (Image courtesy of DreamWorks Animation)

Amid the high-energy antics of the animated film “The Bad Guys” are meaningful messages about redemption and the pitfalls of misjudging people based on stereotypes. This comedic movie has some sly anti-hero subversiveness that shines, even when the plot gets a little messy and jumbled. “The Bad Guys” also has plenty of eye-catching visuals and memorable action sequences to satisfy viewers who are looking for thrills as well as laughs in this entertaining movie.

Directed by Pierre Perifel, “The Bad Guys” is based on Aaron Blabey’s “The Bad Guys” children’s books. The movie has elements from the first four books of “The Bad Guys” book series. Etan Cohen wrote the screenplay for “The Bad Guys” animated film, which is Perifel’s feature-film directorial debut. It’s a rollicking adventure that has massive appeal with people of various ages. The movie also avoids the mistake of overstuffing it with too many characters.

In “The Bad Guys,” the title characters are a gang of five animals that are social outcasts because they’re perceived as “bad creatures” that humans fear because these creatures have the ability to kill humans. Because they have reputations for being “bad,” they’ve all decided to become self-fulfilling prophecies of those reputations. They are a gang of thieves in a U.S. city that is unnamed, but it’s designed to look like Los Angeles, and it’s populated with humans, talking animals and non-talking animals.

The five talking animals in “The Bad Guys” gang are:

  • Wolf (voiced by Sam Rockwell), the group’s smooth-talking leader, who is a master pickpocket.
  • Snake (voiced by Marc Maron), Wolf’s frequently grumpy best friend, whose specialty is safecracking.
  • Tarantula (voiced by Awkwafina), a hyperactive and sarcastic computer hacker, who has the nickname Webs.
  • Shark (voiced by Craig Robinson), a somewhat goofy master of disguises.
  • Piranha (voiced by Anthony Ramos), a short-tempered loose cannon, who has the ability to spread noxious fumes when he passes gas.

In the beginning of the movie, it’s Snake’s birthday, which the rest of his friends want to celebrate, but Snake does not want a birthday party because he hates birthdays. Snake doesn’t even want to have a birthday cake, although he does mention that he’s interested in a delicacy that he wouldn’t mind having for his birthday: guinea pigs.

Not long after Snake and Wolf have a back-and-forth debate over how they are going to celebrate Snake’s birthday, the gang robs a bank. As they all make their getaway in a car driven by Wolf, he sneers, “Go bad or go home.” Back at their hideout, the five pals celebrate Snake’s birthday with some cake. He reluctantly enjoys the party.

This gang is the ultimate anathema to Misty Luggins (voiced by Alex Borstein), the city’s hot-tempered human police chief who feels personally humiliated every time that these troublemaking pals get away with their crimes. Someone else who is determined to stop this gang of thieves is the newly elected governor named Diane Foxington (voiced by Zazie Beetz), a confident and intelligent fox. Governor Foxington announces at a press conference about these criminals: “These so-called bad-guys are second-rate has-beens.”

The five gang members see the governor insulting them on TV, so they decide to prove her wrong. Wolf is aware that the downfall of many gangs is when they make their crimes too personal, but he can’t resist the idea of making the governor regret calling the gang a bunch of laughable hacks. The gang members also take delight in embarrassing Police Chief Luggins and her police department.

It just so happens that an upcoming gala presents the ideal opportunity for the gang to do a very high-profile heist. A famous, publicity-seeking philanthropist guinea pig named Professor Robert Marmalade IV (voiced Richard Ayoade) is being honored for his charitable work with the Good Samaritan Award. At this event, this valuable prize will be given in the form of a large trophy called the Golden Dolphin, which is a portable dolphin statue made out of gold.

Access to the Golden Dolphin is highly restricted. Governor Foxington, who will present the award to Professor Marmalade, is the only one who has clearance to a room where the Golden Dolphin is being kept before the ceremony. The room can only be opened through an eye detection sensor on the door, with the sensor programmed to open when it sees an eye of Governor Foxington.

The gang concocts an elaborate plan to crash the gala and steal the Golden Dolphin. And, of course, not everything goes according to the plan. Not surprisingly, Wolf plays the role of a charming gala guest to distract Governor Foxington. Because they are both canines, it’s repeated in the movie that wolves and foxes aren’t very different from each other. And you know what that means, especially when Wolf and Governor Foxington exchange the type of romantic comedy banter of a would-be couple trying to pretend they’re not attracted to each other.

“The Bad Guys” has some plot twists that are somewhat unexpected, while other plot twists are very easy to predict. Marmalade is a do-gooder who believes that criminals can be redeemed, so he very publicly declares that this gang of five should be given a path to redemption. Most of the movie’s plot is how the gang takes this redemption offer but secretly plans to steal the Golden Dolphin anyway.

The movie also has a subplot about guinea pigs being held captive for scientific experiments at a place called Sunnyside Laboratories. A human TV reporter named Tiffany Fluffit (voiced by Lilly Singh) provides some mild comic relief as a character written as a parody of TV reporters who care more about their egos, fame and tabloid stories than in being good journalists. And there’s a cute, unnamed cat (that doesn’t talk like a human), which ends up teaching Wolf and his gang some lessons in compassion.

“The Good Guys” is a well-cast movie, since all of the voice cast members for the main characters bring a distinctive edge to each of their respective characters’ unique personalities. “The Bad Guys” is not a movie where the characters are easily confused with each other, because each has something memorable that sets that character apart from everyone else. In an animated movie business that’s over saturated with stories about talking animals, “The Bad Guys” is an above-average winner that is sure to inspire sequels.

DreamWorks Animation will release “The Bad Guys” in U.S. cinemas on April 22, 2022. The movie was released in other parts of the world, beginning on March 17, 2022.

Review: ‘Swan Song’ (2021), starring Mahershala Ali

January 1, 2022

by Carla Hay

Mahershala Ali in “Swan Song” (Photo courtesy of Apple TV+)

“Swan Song” (2021)

Directed by Benjamin Cleary

Culture Representation: Taking place in an unnamed U.S. city, the sci-fi drama film “Swan Song” features a predominantly black cast of characters (with a some white people, Asians and one Native American) representing the working-class and middle-class.

Culture Clash: A graphic designer, who is dying from an unnamed illness, keeps it a secret from his family and secretly arranges for a clone to replace him. 

Culture Audience: “Swan Song” will appeal primarily to people who are fans of star Mahershala Ali and will appeal to people who are interested in to seeing well-acted, emotionally heavy movies about how people might prepare for death.

Mahershala Ali and Naomie Harris in “Swan Song” (Photo courtesy of Apple TV+)

The sci-fi drama “Swan Song” is a somber and slow-paced film that viewers have to be in the right frame of mind to see. It’s a very well-acted film that handles its subject matter with sensitivity, but it should be avoided if you’re not in the mood to see a movie about terminal illness and death. The second half of the movie is much better than the first half, which has some pacing issues and takes a little long to get to the heart of the story. “Swan Song” viewers also must have patience with movies that tell stories in a non-linear, non-chronological way.

Written and directed by Benjamin Cleary, “Swan Song” does a lot with the relatively small number of people in the cast. The movie is set in an unspecified year in the future, in an unnamed U.S. city. A graphic designer named Cameron has recently found out that he’s dying from an illness, which is also not named in the movie. The only clue to what this illness might be is that it causes deterioration of the brain.

Cameron is married to a loving and loyal wife named Poppy (played by Naomie Harris), a British immigrant who works as a school teacher for children with learning disabilities. Poppy uses music therapy for her students and composes and sings a lot of the music for this therapy. Cameron and Poppy have a bright and energetic son named Cory (played by Dax Rey), who is 8 years old.

Cameron is the more introverted spouse in the marriage, while Poppy is more of an extrovert. These personality differences are reflected in what Cameron and Poppy chose for their respective careers. When the movie does show Cameron do anything related to his graphic designer job, he’s by himself, with any outside communication done electronically.

Because a great deal of “Swan Song” is shown in flashbacks (including the movie’s opening scene), this is not a movie that people should watch while being distracted by other things. There are subtle clues that can be picked up when people watch this movie with their full attention. These nuances can lead to greater appreciation of “Swan Song,” which might bore some viewers who are expecting more action.

Cameron hasn’t told his family that he doesn’t have much longer to live. That’s because he’s secretly decided to sign up for a relatively new scientific experiment from a company called Arra, which lets terminally ill people agree to have replacement clones made of themselves. (In this story, a human clone is sometimes called a “regeneration.”) As part of the contract with Arra, the terminally ill people who agree to be replaced by clones have to keep this decision a secret from everyone they know except for Arra employees.

Cameron’s clone is temporarily named Jack (also played by Ali), who not only has a replica of Cameron’s DNA but he also has a full transfer of Cameron’s memories, including subconscious memories. The only physical difference between Cameron and his clone is that the clone is given a small mole on the inside of his hand, so that the Arra staffers can tell the difference between the real Cameron and his clone. Clones are able to mimic human emotions, based on the clone’s implanted memories.

There’s a transition period when the terminally ill person and the assigned clone get to know each other. After this transition period, the clone officially replaces the terminally ill person when the clone starts to live its replacement’s life, and the clone’s memory of being a clone is permanently erased. The terminally ill person than lives at Arra headquarters until death comes.

“Swan Song” goes back and forth between Cameron’s ambivalence over wanting a clone to take over his life and flashbacks to what Cameron’s life was like before he knew that he was dying. In order to prepare for the clone to take over his life, Cameron has to spend time at Arra’s headquarters, which are designed to look like an upscale retreat. Cameron tells Poppy that he’s away on business to explain his absence from home.

Dr. Jo Scott (played by Glenn Close) leads Arra’s cloning project, and she’s determined to make it a success. She has only two human subordinates working with her: a technician named Rafa (played by Lee Shorten) and a psychologist/head technician named Dalton (played by Adam Beach). As Dr. Scott explains to Cameron, the rest of the staffing duties are done by artificial intelligence technology that she says can do the work of abut 50 humans.

Dr. Scott also tells Cameron, when he asks, that he’s only the third human who’s going through Arra’s clone replacement process. She has no ethical qualms about human cloning. “It’ll be as common as heart transplants, in a few years,” Dr. Scott confidently predicts to Cameron. Dr. Scott also keeps a tight reign on Arra’s secret cloning. When Cameron says he wants to tell his family about it, she’s quick to remind him that he signed a contract and that he will “lose the opportunity” if he tells anyone that he arranged to have a replacement clone.

During his stay at Arra headquarters, Cameron meets another terminally ill person named Kate (played by Awkwafina), whose clone has been out in the world for about 42 days when Cameron and Kate first meet. Dr. Scott says that Cameron should also meet Kate’s clone, so that Cameron can see how it’s nearly impossible to tell a clone from a real human being. Cameron goes to Kate’s job (she’s a real estate agent), where he meets Kate’s clone and Kate’s daughter Sammy (played by Mikayla Lagman), who’s about 10 or 11 years old. Sammy has no idea that Kate has been replaced by a clone. The experience of meeting a clone in the real world somewhat unnerves Cameron, who starts to doubt if he made the right decision.

Kate also has mixed emotions about seeing how her family and other loved ones were easily fooled into believing the clone is the real Kate. On the one hand, Kate says that “my guilt faded pretty quick” after she saw how her family wouldn’t have to worry if they knew the truth about Kate being terminally ill. On the other hand, it’s unsettling and sad for Kate to see a clone take over her life while Kate is still alive. Cameron will also go through the same mixed feelings, which Ali conveys with as much skill as a great actor can have when depicting an introvert.

There are additional reasons for why Cameron wants to keep his cloning decision a secret from his loved ones. Poppy is two months pregnant with their second child. And a few years earlier, Poppy’s twin brother Andre (played by Nyasha Hatendi) died in a motorcycle accident. Poppy went into a deep depression, where she could barely leave the house “for a better part of a year,” as Cameron tells Kate.

Poppy is in therapy over her grief. By contrast, Cameron has never been in therapy. Cameron doesn’t want to add to Poppy’s grief by telling her that he’s dying. Cameron also doesn’t want their unborn child and Cory to grow up without a father. Cameron’s own family history is barely mentioned, except when he tells Dr. Scott that his parents divorced when he was 5 years old, and he was raised by his mother. It might explain any extra motivation that Cameron has to make sure that his children have a father in their lives.

Before Cameron found out that he was terminally ill, he and Poppy hit somewhat of a rough patch in their marriage, where they seemed to be drifting apart. In a private conversation between Poppy and Cameron, she tells him that’s she convinced that her unexpected pregnancy with their second child is a sign that the child will be good for their marriage. Cameron seems to agree, but his terminal illness diagnosis has permanently altered those plans, because it’s very likely that Cameron won’t live to see the birth of this child.

Flashbacks show how Cameron and Poppy met: They were both commuter train passengers sharing the same table. They both ordered the same chocolate bar, but when Poppy started eating the chocolate, Cameron mistakenly thought that she was eating his chocolate bar, but they ended up sharing it anyway. It became an endearing joke between them.

Other flashbacks show their courtship, marriage, parenthood, and how Andre was a close member of their family. (Ace LeVere portrays Cory at age 2. Aiden Adejuwon plays Cory at age 5.) One of these flashbacks is of a conversation between Cameron, Poppy and Andre, where Andre talks about the news that human cloning experiments were happening. Cameron seems turned-off by the idea and says that he wouldn’t want a human clone of himself. He obviously changed his mind after getting diagnosed with a terminal illness.

Ali and Harris, who co-starred in the Oscar-winning 2016 film “Moonlight,” have good chemistry together and make a believable couple. Some viewers might feel that not enough of Cameron and Poppy’s relationship is shown, since the vast majority of the relationship is presented in flashback snippets. Harris’ role as Poppy does feel a little underwritten, since she’s mostly depicted as a cheerful and upbeat wife. The depression she had over Andre’s death is not really shown, even though this depression no doubt caused some of strain in her marriage to Cameron.

“Swan Song” is also a little uneven in explaining Arra’s cloning procedures. There are some questionable decisions in the process that no self-respecting psychologist/psychiatrist would recommend. For example, terminally ill humans are allowed to see how their clones interact with loved ones as the humans’ replacements. The clones are equipped with contact lenses that are linked to live video monitors that can be watched at Arra headquarters by the scientists and the human who’s being replaced. If there are no problems in the trial run, the clone’s memory is then erased about being a clone, and the clone will then move on to living life as the human’s replacement.

“Swan Song” doesn’t do a very adequate job of explaining why these scientists would want terminally ill people to see clones completely replacing these humans without the humans’ loved ones knowing, when the psychological effects would be too risky. Some terminally ill people might feel comforted at seeing their replacement clones take over their lives. However, most terminally ill people would probably feel disturbed by seeing a clone living the life that the humans want to have.

After Jack the clone (before he officially becomes Cameron) is sent to live with Poppy and Cory for this trial run, Cameron sees how Jack is interacting with his family. Cameron reacts exactly how you would expect him to react. It leads to a certain confrontation that affects Cameron’s decisions for the rest of the story.

“Swan Song” (whose futuristic cinematography is awash in a lot of gray and blue) doesn’t hit its best stride until the last 20 minutes of the movie, when Cameron makes a pivotal decision that affects his journey. Ali has his most impactful “Swan Song” scenes in this last part of the movie. Cameron is not a naturally expressive person, so he keeps a lot of his emotions bottled inside until he can no longer ignore his feelings. “Swan Song” might be set in the future, but it effectively shows how issues about humanity and the fragility of life are timeless.

Apple TV+ released “Swan Song” in select U.S. cinemas and on Apple TV+ on December 17, 2021.

Review: ‘Shang-Chi and the Legend of the Ten Rings,’ starring Simu Liu, Tony Leung, Awkwafina, Meng’er Zhang, Fala Chen, Michelle Yeoh and Florian Munteanu

August 23, 2021

by Carla Hay

Meng’er Zhang, Simu Liu and Awkwafina in “Shang-Chi and the Legend of the Ten Rings” (Photo courtesy of Marvel Studios)

“Shang-Chi and the Legend of the Ten Rings”

Directed by Destin Daniel Cretton

Some language in Mandarin with subtitles

Culture Representation: Taking place in China and in San Francisco, the superhero action film “Shang-Chi and the Legend of the Ten Rings” features a predominantly Asian cast of characters (with some white people) representing heroes, villains and people who are in between.

Culture Clash: A Chinese man who ran away to the U.S. as a teenager, in order to get away from his ruthless overlord father, must confront his past and the power of 10 magical arm rings that are the source of the story’s conflict.

Culture Audience: “Shang-Chi and the Legend of the Ten Rings” will appeal primarily to people who are fans of the Marvel Cinematic Universe (MCU) and are looking for an enjoyable origin story that is not a sequel or a prequel.

Tony Leung and Fala Chen in “Shang-Chi and the Legend of the Ten Rings” (Photo courtesy of Marvel Studios)

“Shang-Chi and the Legend of Ten Rings” has plenty of heart and adventurous spirit to satisfy superhero movie fans. It’s too bad that the title character has a personality that’s duller than the average Marvel superhero. Shang-Chi is frequently outshined by his wisecracking female best friend/sidekick. And there’s a long stretch in the middle of the film that drags the pace down considerably.

Directed by Daniel Destin Daniel Cretton, “Shang-Chi and the Legend of the Rings” is an origin story that doesn’t dazzle in a spectacular way, but it gets the job done in a crowd-pleasing way that serves the movie’s target audience well. Cretton co-wrote the movie’s screenplay with Dave Callaham and Andrew Lanham. It’s yet another Hollywood studio superhero story about a superhero with “daddy issues.” The big difference this time is that the majority of the cast is Asian, mostly of Chinese heritage.

One of the problems with the movie is that the climactic showdown scene doesn’t offer much that most movie and TV audiences haven’t already seen before. To put it bluntly: This movie needed better villains. In “Shang-Chi and the Legend of the Ten Rings,” there’s a villain named Razor Fist (played by Florian Munteanu) with a machete as an arm. That pales in comparison to a “Stars Wars: Rise of Skywalker” villainous henchman named Cardo that had a shotgun for an arm.

Battles with dragons? Yawn. It’s very “Game of Thrones” and not much different from any recent big-budget live-action movie where the dragons are the big monsters that have to be defeated. And a hero going in a one-on-one duel fight against his villain father? Ever hear of “The Empire Strikes Back” or “Return of the Jedi”?

“Shang-Chi and the Legend of the Ten Rings” is literally an origin story, since viewers see how, in China, his parents met, fell in love, got married, and had Shang-Chi as their first child. The movie shows Shang-Chi as a baby, as a pre-teen child (played by Jayden Zhang), as a teenager (played by Arnold Sun) and as an adult (played by Simu Liu). Shang Chi’s father Xu Wenwu (played by Tony Leung) was a corrupt overlord who came into possession of 10 magical arm rings (because bracelets must not sound macho enough) that allowed him to have immense power. His heart softened when he met Ying Li (played by Fala Chen), who charmed him after a sword duel that she won against him. It was love at first sight, and they got together soon after that.

Shang-Chi spent his entire life training to be a fighter and to follow in his father’s footsteps. Shang-Chi’s mother Li also gave him a special green pendant that she said he must never lose or give away. But tragedy struck when Shang-Chi was a teenager: His mother died. Wracked with griedfand despair, widower Xu Wenwu went back to his corrupt ways. There’s a part of the movie that reveals that Xu Wenwu also might have lost his mind to insanity.

When Shang-Chi was 14 years old, Xu Wenwu ordered him to complete his first “assignment” assassination. At age 15, Shang-Chi ran away from China to the United States. He ended up settling in San Francisco, where in high school he befriended a smart-alecky girl named Katy, and they’ve been best pals ever since. The movie does not show Shang-Chi’s American life during the time that he was in high school or in his 20s, but he and Katy have a few discussions about their past together.

Now in their early 30s, Shang-Chi (who changed his first name to Shaun) and Katy (played by Awkwafina) work together as parking valets at a ritzy hotel. They’re very educated and over-qualified for the job. He can speak four languages, while she has a master’s degree from the University of California at Berkeley. Katy has a mischievous and rebellious streak, since she’s the type of valet driver who will take a car out on a joy ride instead of parking it. That’s what she does when she gets handed the keys to a red BMW, which she takes to speed through traffic, with Shaun/Shang-Chi along for the ride.

Katy doesn’t know about Shang-Chi’s past until it catches up to him in one of the movie’s best action scenes. It’s when Iron Fist and some other thugs attack Shang-Chi and Katy while they’re on a moving bus. Katy is shocked to find out that her friend Shaun has superhero-level fighting skills. Later, he tells her that his real name is Shang-Chi.

But the “fight on the bus” scene kicks off the movie in a very thrilling way. The martial arts and choreography are top-notch. And there are some heart-pounding moments when Katy has the take the wheel of the bus and navigate through San Francisco’s hilly, narrow and crowded streets. It makes her daredevil joyrides as a valet look like an easygoing holiday in comparison.

Why is Shang-Chi being targeted by these goons, who seemed to come from out of nowhere? As he explains to Katy about his secret past, it means that his father must be looking for him, because the assassins took Shang-Li’s pendant. And you know what that means: Shang-Chi and Katy are going to China—Macau, to be more specific.

If non-talking monsters or aliens aren’t the main villains in a superhero movie, the talking villains better have a memorable personality. Unfortunately, as talented as Leung is as an actor, this type of formulaic, power-hungry overlord has been done in movies and TV so many times already. After watching “Shang-Chi and the Legend of the Ten Rings” for the first time, the average viewer will be hard-pressed to remember one line of dialogue that Xu Wenwu said, although Leung certainly gives it his all in depicting a once-loving father who has since gone in an evil direction.

“Shang-Chi and the Legend of the Ten Rings” does have moments of levity, mainly because of Katy’s sarcasm and the MCU re-appearance of Trevor Slattery (played by Ben Kingsley), a flamboyant British actor who was previously seen in 2013’s “Iron Man 3.” It won’t be revealed here what Trevor does in “Shang-Chi and the Legend of the Ten Rings,” but it’s enough to say that a cute faceless and furry creature that Trevor has with him (about the size of a dog) will be one of the most remembered aspects about “Shang-Chi and the Legend of the Ten Rings.”

Dr. Strange sidekick Wong (played by Benedict Wong) is another MCU character who’s in “Shang-Chi and the Legend of the Ten Rings,” although Wong’s screen time is a lot less than Trevor’s. New characters to the MCU include Shang-Chi’s estranged younger sister Xialing (played by Meng’er Zhang, making an impressive feature-film debut) and their aunt Ying Nan (played by Michelle Yeoh), who is the sister of Shang-Chi and Xialing’s late mother.

Before Shang-Chi and Katy go through predictable scenes of training for the big showdown battle that takes place at the end of the movie, there’s another standout fight scene that takes place on a skyscraper. In many ways, the skyscraper scene and the bus scenes are more unique and more thrilling fight than the final battle scene. This movie’s action definitely shines the most when it has martial arts between humans, rather than visual-effect-heavy battles with mythical creatures.

“Shang-Chi and the Legend of the Ten Rings” is a big step forward for Hollywood-made superhero movies that do not have a predominantly white cast. There’s plenty to like about the movie. But as an origin story, it relies a little too much on over-used, basic tropes. Except some of the fight scenes, there wasn’t a lot of originality in how this story was structured. The good news for people unfamiliar with the MCU, “Shang-Chi and the Legend of the Ten Rings” is one of the few MCU movies that’s a true stand-alone film that doesn’t have a lot of references to other MCU films that you would have to know about to understand these references.

However, it’s not a good sign when one of those past references from an MCU movie (Trevor) is more entertaining to watch than the main hero and the main villain in Shang-Chi and the Legend of the Ten Rings.” Awkwafina might get mixed reactions in her role as Katy, since people seem to love or hate Awkafina’s off-screen personality. Liu is perfectly fine as Shang-Chi, but he doesn’t have the charisma to be in the upper echelon of beloved MCU characters. The rest of the cast is serviceable in their roles. This movie isn’t going to win any prestigious awards for any of the cast members.

“Shang-Chi and the Legend of the Ten Rings” also has disappointing mid-credits and end-credits scenes. People really won’t miss anything if they skip the credits. However, it’s enough to say that the mid-credits scene does show Shang-Chi, Katy, Wong and two other MCU characters. As far as escapist entertainment goes, “Shang-Chi and the Legend of the Ten Rings” delivers enough to satisfy people who are fans of superhero movies or martial arts. But people who want more magnetic personalities in action heroes might have to look elsewhere.

Marvel Studios will release “Shang-Chi and the Legend of the Ten Rings” in U.S. cinemas on September 3, 2021. A one-night-only sneak preview of the movie was screened in select IMAX cinemas in the U.S. and Canada on August 18, 2021.

Review: ‘The SpongeBob Movie: Sponge on the Run,’ starring the voices of Tom Kenny, Bill Fagerbakke, Matt Berry, Clancy Brown, Rodger Bumpass, Carolyn Lawrence and Mr. Lawrence

March 3, 2021

by Carla Hay

Pictured clockwise, from left to right: Sandy Cheeks (voiced by Carolyn Lawrence), Patrick Star (voiced by Bill Fagerbakke), Plankton (voiced by Doug Lawrence), SpongeBob (voiced by Tom Kenny), Gary (on top of SpongeBob’s head) and Mr. Krabs (voiced by Clancy Brown) in “The SpongeBob Movie: Sponge on the Run” (Image courtesy of Paramount Animation)

“The SpongeBob Movie: Sponge on the Run”

Directed by Tim Hill

Culture Representation: Taking place in the fictional, underwater places of Bikini Bottom and the Lost City of Atlantic City, the live-action/animated film “The SpongeBob Movie: Sponge on the Run” features a predominantly white voice cast (with some African Americans, Asians and Latinos) in a comedic adventure story that’s part of the SpongeBob SquarePants franchise.

Culture Clash: SpongeBob SquarePants and his neighbor Patrick Star go on a mission to rescue SpongeBob’s best friend/pet snail Gary, which is being held captive by an egotistical overlord named King Poseidon.

Culture Audience: “The SpongeBob Movie: Sponge on the Run” will appeal primarily to people who are fans of the SpongeBob SquarePants franchise and people who like family-friendly animation that can be enjoyed by various generations.

King Poseidon (voiced by Matt Berry) in “The SpongeBob Movie: Sponge on the Run” (Image courtesy of Paramount Animation

As the first computer-generated imagery (CGI) animated movie in the SpongeBob SquarePants franchise, “The SpongeBob Movie: Sponge on the Run” is an exuberant and eye-catching adventure that makes up for some predictable moments with just enough unexpected zaniness to make it worth watching for anyone who appreciates earnestly goofy animation. It’s not necessary to see any episodes of the long-running Nickelodeon animated series “SpongeBob SquarePants” or its spinoff movies (“Sponge on the Run” is the third one in the film series) to enjoy the movie, although it certainly provides some better context for some of the relationships in the movie.

“The SpongeBob Movie: Sponge on the Run” has several scenes that are flashbacks to some of the characters’ childhoods. It’s an obvious promotion for “Kamp Koral: SpongeBob’s Under Years,” the prequel spinoff “SpongeBob” TV series that launches on Paramount+ (formerly known as CBS All Access) on the same day that “The SpongeBob Movie: Sponge on the Run” is available on the streaming service. “Kamp Koral” focuses on what some of the main characters did as children at Kamp Koral, and “The SpongeBob Movie: Sponge on the Run” gives a sense of what people can get expect from this spinoff TV series.

Written and directed by Tim Hill, “The SpongeBob Movie: Sponge on the Run” is the first “SpongeBob” movie to be released since the 2018 death of SpongeBob SquarePants creator Stephen Hillenburg, who died of amyotrophic lateral sclerosis (ALS) at the age of 57. The movie has a dedication to Hillenburg before the end credits. Compared to 2004’s “The SpongeBob SquarePants Movie” and 2015’s “The SpongeBob Movie: Sponge Out of Water,” there’s a slightly wackier vibe to “The SpongeBob Movie: Sponge on the Run,” thanks in large part to an amusing featured role from Keanu Reeves.

Things in the underwater city of Bikini Bottom are what SpongeBob fans can expect: SpongeBob SquarePants (voiced by Tom Kenny), the cheerfully upbeat sponge protagonist, is still working as a fry cook at a fast-food restaurant called the Krusty Krab, which is owned by his cranky Scottish boss Mr. Krabs (voiced by Clancy Brown). The pessimistic Squidward Tentacles (voiced by Rodger Bumpass) also works at the Krusty Krab. The tiny green copepod named Plankton (voiced by Mr. Lawrence) and his computer wife Karen (played by Jill Talley) are still scheming to get the secret recipe formula for the Kristy Krab’s Krabby Patty burgers, in order to boost Plankton and Karen’s failing rival restaurant the Chum Bucket.

This time, there’s a new challenge: SpongeBob’s best friend/pet snail Gary (also voiced by Kenny, who makes Gary sound like a cat) is stolen by Plankton, who gives Gary to the vain and tyrannical King Poseidon (voiced by Matt Berry) because the king uses snail slime to keep his face looking youthful. King Poseidon ran out of snails and offered a reward to anyone who could provide him with a useful snail. Plankton sees that offer as an opportunity to try to get in the king’s good graces and get revenge on SpongeBob. King Poseidon lives at Poseidon Palace, which is located in the Lost City of Atlantic City.

What follows is a madcap trek that involves SpongeBob and his amiable starfish neighbor Patrick Star (voiced by Bill Fagerbakke) going on a mission to find and rescue Gary. Along the way, they end up in a Western ghost town, where they have some off-the-wall encounters with flesh-eating zombie pirates (portrayed by live actors), a rapping gambler (played by Snoop Dogg) and a villainous zombie cowboy called El Diablo (played by Danny Trejo). But some of the funniest scenes in the movie are with a giant, advice-giving tumbleweed named Sage that rolls into SpongeBob and Patrick’s lives when they first arrive in the ghost town. Sage is a tumbleweed with a talking head of Reeves inside the center.

Also part of these antics is a new automated computer robot named Otto (voiced by Awkwafina), which the brainy squirrel Sandy Cheeks (voiced by Carolyn Lawrence) has given as a gift to Mr. Krabs. However, Mr. Krabs quickly gets annoyed with Otto and throws the robot away. Otto ends up becoming a crucial part of how the story develops.

The movie also has some cameos of celebrities playing a version of themselves as underwater animated characters that work at a nightclub in the Lost City of Atlantic City. Tiffany Haddish appears briefly on stage as a wisecracking fish that’s a stand-up comedian named Tiffany Haddock. Jazz saxophonist Kenny G plays a plant called Kelpy G, which does a smooth jazz version of “My Heart Will Go On,” the theme from the 1997 movie “Titanic.” It’s a somewhat subversive song choice, considering “Titanic” is a disaster movie where most of the characters end up drowning in the ocean.

There are some other endearingly oddball and unexpected choices in the movie, such as a criminal trial that takes place at the nightclub. The King Poseidon character plays with masculine and feminine stereotypes, by blurring the lines between obsessions with machismo and obsessions with beauty products. It’s why King Poseidon is not a typical villain in an animated film.

“The SpongeBob Movie: Sponge on the Run” clearly knows its audience well, since it’s made for kids as well as adults. “SpongeBob SquarePants” has been on the air since 1999; therefore, many of the kids who grew up watching the show now have children of their own. It explains the inclusion of Reeves, Snoop Dogg, Kenny G and Danny Trejo as cameos, since these stars’ pop culture significance have a different meaning to people who are old enough remember the 1990s and early 2000s.

The movie’s very retro music soundtrack is definitely geared more to adults, with rock and pop tunes from the late 20th century, such as Foghat’s “Slow Ride,” Willie Nelson’s “On the Road Again” and Ricky Martin’s “Livin’ La Vida Loca.” Weezer has two songs on the soundtrack: “It’s Always Summer in Bikini Bottom” and a cover version of a-ha’s “Take on Me” and the original song Also on the soundtrack is the Flaming Lips’ “Snail: I’m Avail.”

Mikros did the movie’s vivid CGI and animation, which is not as outstanding as a Pixar movie, but it’s better than most CGI animated films. Writer/director Hill moves things along at a brisk-enough pace, even though it’s very easy to know how the movie is going to end. “The SpongeBob Movie: Sponge on the Run” imparts a lot of positive messages of self-acceptance, but the characters have enough foibles and flaws to make the jokes relatable to viewers. Watch this movie if you like animated films and you’re up for an energetic diversion that might make you want more “SpongeBob” movies, regardless of how familiar or unfamiliar you might be with the franchise.

Paramount Pictures’ Paramount Animation and Nickelodeon Movies will release “The SpongeBob Movie: Sponge on the Run” on Paramount+ on March 4, 2021, the same date that Paramount Home Entertainment releases the movie on VOD. The movie was released in Canada in 2020.

Review: ‘Breaking News in Yuba County,’ starring Allison Janney, Mila Kunis, Awkwafina, Wanda Sykes, Juliette Lewis, Samira Wiley and Regina Hall

February 21, 2021

by Carla Hay

Allison Janney in “Breaking News in Yuba County” (Photo courtesy of Anna Kooris/MGM)

“Breaking News in Yuba County”

Directed by Tate Taylor

Culture Representation: Taking place in the fictional U.S. Southern city of Stanlow, the dark comedy “Breaking News in Yuba County” features a predominantly white cast (with some African Americans, Asians and Latinos) representing the middle-class, working-class and criminal underground.

Culture Clash: A lonely, middle-aged woman pretends that her philandering criminal husband has been kidnapped (even though he really died of a heart attack), so that she can get sympathy and attention.

Culture Audience: “Breaking News in Yuba County” will appeal primarily to people who are fans of star Allison Janney and to people who don’t mind watching incoherent movies about people behaving badly.

Allison Janney, Mila Kunis and Regina Hall in “Breaking News in Yuba County” (Photo Anna Kooris/MGM)

Oscar-winning actress Allison Janney has worked with director Tate Taylor in all of his feature films so far, and she usually plays supporting or minor characters in these movies. The dark and violent comedy “Breaking News in Yuba County” is the first Taylor-directed film where Janney is front and center as the movie’s lead character. And it’s a dreadful misstep not only for Taylor and Janney but also for everyone involved in this embarrassing mess. “Breaking News in Yuba County” (whose producers include Taylor and Jake Gyllenhaal) is proof that having a talented cast doesn’t automatically equal a good movie.

In “Breaking News in Yuba County” (whose horrendous screenplay was written by Amanda Idoko), Janney portrays Sue Buttons, a lonely woman who feels neglected and under-appreciated and goes to extreme lengths to get attention. The movie shows obvious signs that Sue doesn’t get the respect that she thinks she deserves, to try and make her look sympathetic. But her personality and actions are so off-putting (and so are almost all of the characters in this stinker film) that the movie’s attempts to be comedic are pathetic and monotonous.

“Breaking News in Yuba County” takes place in an unnamed U.S. state in the South, in a fictional city called Stanlow, located in Yuba County. In the movie’s opening scene, viewers see Sue listening to motivational affirmations on her iPod as she goes to a supermarket. She repeats these mantras several times throughout the movie: “My story matters. I am enough. I am confident.” Sue’s self-directed pep talks do little to change the way that the outside world treats her. And something happens on her birthday that causes her to snap and go from being a mild-mannered, law-abiding citizen to being a stone-cold, heartless fraudster.

She arrives at the grocery store to pick up her small birthday cake, which is inscribed with the words “Happy Birthday, Sue.” But Sue notices that the “e” looks more like a “c.” She points out this mistake to the pastry worker behind the counter, with a tone of voice implying that she wants the error corrected. But the worker just ignores Sue’s attempt to assert herself and asks if Sue is paying by cash or credit.

Sue is married to a corrupt banker named Karl (played by Matthew Modine), who’s first seen at their home talking dirty to a woman whom he plans to meet later for a sexual tryst. Sue doesn’t know about this affair but she’ll soon find out on her birthday. She’ll also find out later about her husband’s illegal activities. In the meantime, Sue has made plans for her and Karl to have a romantic dinner at a restaurant on her birthday.

But as soon as she arrives home, Karl is out the door to go meet up with his mistress. Meanwhile, Sue takes her birthday cake and makes the correction on the letter “e” herself. She then goes to her job, a place called Sidewinder Safety Tubs, where she works in customer service at a call center. The only work on the job that the movie shows her doing is taking one phone call from a rude customer who curses at her.

Considering all the ludicrous shenanigans that Sue gets up to later that take up all of her time, the movie shouldn’t have bothered showing her having a job at all. This movie is so badly written that it’s never explained how Sue took all the time off from work that she takes to try to cover up her web of lies. But the filmmakers seem to assume that everyone who’s watching this movie is as idiotic as the characters.

Sue just happens to be driving near a motel when she sees Karl’s car parked outside. She gets out and sees him holding some flowers and going into a motel room while calling a woman inside “honey” before he shuts the door. An alarmed Sue goes to the motel’s front desk and correctly assumes that the room is reserved in Karl’s name. Sue tells the front desk clerk that she’s his wife and pretends to have accidentally locked herself out of that room, so she asks for a spare key.

Sure enough, when Sue lets herself into the motel room, Karl is having sex with another woman, whose name is Leah Norton (played by Bridget Everett), whom Sue has never met before. Sue gets angry, while Karl and Leah are naturally startled and horrified at being caught. Karl is so surprised that he falls off the bed, has a heart attack, and dies.

While Leah is freaking out and babbling, Sue finds out that Leah is also married. She slaps Leah and tells her that she will inform Leah’s husband about Leah’s cheating if Leah doesn’t leave the motel immediately. Sue also tells Leah that Sue will take care of the problem of Karl’s dead body. Leah doesn’t hesitate to quickly leave the motel.

Instead of being upset that Karl is dead, Sue forlornly says out loud as she sits on the bed, “You forgot my birthday.” Sue then hatches a plan to bury the body in a lot near the motel. This movie is so stupid, that it shows Sue digging the grave in plain view where anyone could have easily seen her. But there would be no “Breaking News in Yuba County” if she were caught that quickly and easily.

Meanwhile, Sue doesn’t find out until after Karl dies that he was involved in a money-laundering scheme with some local criminals, who used Karl to launder millions of dollars. The people in this illegal enterprise are a ruthless crime boss named Mr. Kim (played by Keong Sim); his sometimes-bungling daughter Mina (played by Awkafina), who tries to be as tough as her father; a menacing, trigger-happy thug named Ray (played by Clifton Collins Jr.); and Karl’s younger brother Petey (played by Jimmi Simpson), who’s been trying to leave his criminal life behind.

Petey works as a salesperson at a furniture store named Rita’s, owned by a sassy lesbian named Rita (played by Wanda Sykes), who manages the store with her equally feisty live-in girlfriend Debbie (played by Ellen Barkin). Rita and Debbie know that Petey has a criminal background, but he’s told them that he’s trying to “go straight” and stay out of trouble. Debbie is often suspicious of Petey and sometimes accuses him of stealing from the store. Meanwhile, Rita has a friendly rapport with Petey, and she strangely tells Petey that she wouldn’t mind too much if he was caught stealing because she would understand that he would be stealing out of desperation.

Sue is fixated on a local news/public affairs TV program called “The Gloria Michaels Show,” which has been doing constant coverage of a missing 13-year-old girl named Emma Rose. After Sue has buried Karl’s body, she goes home and watches the show. She has a silent “a-ha” moment when she sees Emma Rose’s parents Jonathan and Robin (played by Michael A. Newcomer and Liz Elkins Newcomer) being interviewed by host Gloria Michaels (played by Juliette Lewis), who tells the distraught parents that they have the unwavering support of the community in finding Emma Rose. Gloria is a TV personality who’s a mix of Nancy Grace and Deborah Norville, even down to having the same type of blonde bob hairstyle and Southern accent.

Sue decides that she can get the public’s sympathy and attention if she pretends that Karl is missing. Sue calls the restaurant to cancel the dinner reservation by saying that her husband isn’t feeling well. It’s a discrepancy (and plot hole) that a good investigation team would be able to uncover when Sue later reports that Karl is missing. She foolishly claimed that Karl disappeared during the time she said that he was too “sick” to go to the restaurant. Another big plot hole is that Sue never bothers to contact anyone to try to look for Karl. But, of course, this movie has incompetent cops who investigate and overlook many of these things that would expose her lies.

Sue goes to the local police station to report Karl’s disappearance, but the officer on duty, Detective Cam Harris (played by Regina Hall), is impatient and dismissive, especially when Sue tells her that Karl has been missing for less than 48 hours. Detective Harris doesn’t file a report and instead advises Sue to ask Karl’s friends and relatives if they know where he is, because many missing spouses usually have just gone somewhere without telling their spouses. Once again, Sue feels ignored and disrespected.

The gravity of what Sue has done begins to sink in with her. When she goes home, she has a meltdown and starts trashing her house. She picks up the birthday cake, as if she’s going to destroy it too, but she can’t bring herself to do it. It’s symbolic of how she’ll take extreme measures later in the story to save herself and destroy others, just so she won’t be exposed for committing the crimes of illegal disposal of a corpse and lying to the police.

Sue has a younger half-sister named Nancy (played by Mila Kunis), who comes over to visit shortly after Sue has her meltdown. The house looks like it’s been ransacked, so Sue pretends to be distraught that Karl is missing. Sue also plays along with Nancy’s assumption that Karl was probably kidnapped during a home invasion.

It just so happens that Nancy is a highly ambitious and competitive TV reporter who works for a local station that’s a rival to the station that has “The Gloria Michaels Show.” Sue and Nancy see Karl’s “disappearance” as an opportunity to get media attention for themselves. Predictably, Nancy offers to interview Sue on TV about the “disappearance.” Nancy doesn’t really care that Karl could be missing; she just wants to get a “news scoop” over the competition.

This TV interview is the first time that Petey finds out that his older brother Karl is missing. And that’s a problem because Karl had $3 million that he was supposed to launder, so now that money is missing too. In a panic, Petey tells Mina and Ray that he doesn’t know where Karl or the money is. And inexplicably, Mina decides to tell Petey that she and Ray have kidnapped Karl, so that they can extort $20,000 in ransom money from Petey. It’s a dumb decision by any standard, but it’s an example of how bad this movie is.

What follows is a convoluted and messy farce, with betrayals, more lies, and people inevitably getting killed in brutal ways. Detective Harris is the only cop on the case who gets suspicious of Sue. But Detective Harris is stonewalled by her dimwitted junior cop partner Officer Jones (played by T.C. Matherne) and their boss Captain Riggins (played by Dominic Burgess), who both think that Sue doesn’t seem like the type who could be a criminal mastermind. It’s a subtle commentary on how certain people, because of their physical appearance, are given a “privileged pass” with law enforcement.

The movie has a few supporting characters that don’t have much to do except be possible targets of violence. Petey has a pregnant girlfriend named Jonelle (played by Samira Wiley), who grows concerned at how strange he’s been acting lately. Her pregnancy only seems to be in the movie so there’s an inevitable scene of a pregnant woman in a vicious fight. And then there’s one of Karl’s bank colleagues named Steve (played by Chris Lowell), who doesn’t do much but act frightened when Mina and Ray predictably show up at the bank to look for Karl.

This type of low-quality movie usually has a cast of unknown actors. But it’s very disappointing to see how many talented and famous actors (who are all known for doing much better work elsewhere) are in this atrocious movie. Not even the action stunts are interesting to watch.

And the tone of the film is horribly uneven, as the actors do their performances as if they’re in very different films. Awkwafina, Barkin, Sykes, Kunis, Hall and Simpson act as if they’re in a goofy slapstick comedy. Matherene, Burgess, Wiley and Lowell act as if they’re in a serious drama. Janney, Lewis, Collins, Sim and Everett come closest to capturing the movie’s intended dark satire. Modine isn’t in the movie long enough for most viewers to care about his Karl character, who seems to be despicable anyway.

Almost as annoying as this movie’s characters is the music score by Jeff Beal, because it’s the epitome of sitcom smarm. Given how violent this movie is, the music is completely out-of-place and awkward, because it sounds like something that should be for an outdated family comedy series on TV. The overall direction of the movie is lazy, as if Taylor just let the actors do their own thing instead of having a cohesive tone for the film. And clearly, the filmmakers didn’t do enough to fix the many problems in the screenplay.

It seems as if “Breaking News in Yuba County” tried and failed to be like a Guy Ritchie crime film, by having a story where lawbreakers comically try to outdo each other in absurd ways, while they attempt to cover up everything and blame their misdeeds on other people. There are plenty of female-centric dark comedy satires that get all the elements right, including 2017’s “I, Tonya,” the movie that garnered Janney her Academy Award. Sometimes bad movies are fun to watch, but “Breaking News in Yuba County” is the type of irritating movie where viewers can’t wait for it to be over and won’t care what happens to the characters in the end.

MGM’s American International Pictures released “Breaking News in Yuba County” in select U.S. cinemas and on digital and VOD on February 12, 2021.

Review: ‘Call Your Mother,’ starring David Spade, Louie Anderson, Awkwafina, Roy Wood Jr., Norm Macdonald, Kristen Schaal, Bridget Everett and Fortune Feimster

May 10, 2020

by Carla Hay

David Spade and his mother, Judy Todd, in “Call Your Mother” (Photo by Jenna Rosher/Comedy Central)

“Call Your Mother”

Directed by Heidi Ewing and Rachel Grady

Culture Representation: The documentary “Call Your Mother” features a racially diverse (white, African American and Asian) group of mostly American comedians talking about how their mothers have affected their lives, with some of the comedians’ mothers also participating in the documentary,.

Culture Clash: Some of the comedians describe having nonconformist or dysfunctional childhoods that are often used as material for their stand-up comedy acts.

Culture Audience: “Call Your Mother” will appeal primarily to people who want to learn more about the family backgrounds of some well-known comedians.

Louie Anderson with a picture of his mother, Ora Zella Anderson, in “Call Your Mother” (Photo by Alex Takats/Comedy Central)

If you ask any stand-up comedian who’s the family member most likely to inspire material for their stand-up comedy act, chances are the comedian will answer, “My mother.” With that in mind, the documentary “Call Your Mother” interviews a variety of comedians (and some of their mothers) to talk about how with these mother-child relationships have affected the comedians’ lives. Directed by Heidi Ewing and Rachel Grady, “Call Your Mother” might not have a deep impact on society, but it accomplishes what it intends to do. The film is a mostly light-hearted, sometimes emotionally moving and occasionally raunchy ride that will give some psychological insight into how and why these comedians ended up where they are now.

“Call Your Mother” includes interviews with a notable list of comedians (almost all of them are American), including Louie Anderson, Awkwafina, Jimmy Carr, Bridget Everett, Fortune Feimster, Rachel Feinstein, Judah Friedlander, Jim Gaffigan, Judy Gold, Jen Kirkman, Jo Koy, Bobby Lee, the Lucas Brothers, Norm Macdonald, Jim Norton, Tig Notaro, Yvonne Orji, Kristen Schaal, David Spade and Roy Wood Jr.

In some cases, the mothers of these comedians are interviewed alongside their comedic children: Everett, Feimster, Schaal, Spade and Wood all have wisecracking moments with their mothers, who are also shown in the audiences while their children are on stage, as well as backstage or at home. Former “Saturday Night Live” star Macdonald is also interviewed with his mother.  (For whatever reason, no Latino comedians are in the documentary, which is a shame, because there are many Latino comedians who talk about their mothers in their stand-up acts.)

Bridget Everett’s mother, Freddie Everett, is memorable for being as foul-mouthed and crude as Bridget. (Freddie even gives the middle finger to the camera, but all in good fun.) Bridget Everett says, “My mother is really one of a kind. She’s the person you meet that you never forget. She can be kind of mean, but somehow she gets away with it.”

Bridget continues, “She’s got a real naughty streak in her,” when describing how her mother was the type to wear very revealing outfits in places where it would be inappropriate for a woman’s breasts to be openly displayed. “There’s something really liberating about that in a small, conservative town.”

Like many of the comedians interviewed in this documentary, Bridget Everett is a child of divorce. After her parents’ divorce, her mother Freddie (who raised six kids) would take a pre-teen Bridget with her to stalk her ex-husband, mainly to see if he was dating anyone new or other reasons to spy on his post-divorce love life.

Bridget remembers her mother telling her to look in windows and report what she saw to her mother. These experiences are part of Bridget Everett’s stand-up act.  And just like her mother used to do when she was young, Bridget Everett dresses in cleavage-baring outfits on stage. “My mom pulses through my performance,” she says. “It’s really a tribute to her.”

British comedian Carr says although his mother “was the funny person in the house,” she often suffered from depression. He turned to comedy to help cheer her up. He says of stand-up comedians: “Most of us come from unhappy childhoods.”

Fans of Louie Anderson already know about how he grew up in a home with an abusive, alcoholic father and a loving mother, because he’s used his childhood as joke material in his stand-up act for years. In the documentary, Anderson (who’s been doing stand-up comedy since 1978) says that he started out doing self-deprecating fat jokes, but he eventually switched to mostly jokes about his family when he saw that it got a stronger reaction from audiences. He also says that dressing in drag for his Christine Baskets character in the FX comedy series “Baskets” was a tribute to his mother, Ora Zella Anderson.

Anderson believes that there’s a reason why so many stand-up comedians come from dysfunctional, often abusive households: “I think comics are about control. They’re trying to control the whole situation, because we had no control growing up.”

Anderson also echoes what most stand-up comedians said in Comedy Central’s documentary “This Is Stand-Up” about gravitating to stand-up comedy because it was their way of being the center of attention and getting unconditional love from people, even if it’s for the limited time that the comedians are on stage.

Spade is another child of divorce. His father left his mother when he was a child, and he says it had long-lasting effects on him and undying respect for his mother, Judy Todd. “My mom is very positive and upbeat and also very funny and clever.”

Todd is seen visiting the set of her son’s talk show “Lights Out With David Spade” on her 82nd birthday, where the audience shouts “Happy Birthday” to her, and she’s invited on stage with the interview guests. Todd is somewhat “normal,” compared to what other comedians have to say about their mothers. She’s almost downright reserved, since she doesn’t do anything to embarrass her son.

The same can’t be said for what comedians Koy, Lee and Gold have to say about their mothers, whose cringeworthy mothering techniques have been fodder for much of these two comedians’ stand-up comedy acts. Koy, who was raised by his divorced Filipino mother, Josie Harrison, remembers how his outspoken mother would inflict terror on anyone who would dare to criticize him.

Bobby Lee talks about how his Korean immigrant mother, Jeanie Lee, used to call his name to get his attention, just so she could fart in front of him. And when they would go to a shopping mall, she would encourage Lee and his younger brother to play in the shopping-mall fountain, while she would take a nap on the floor in a store. Lee, who is a recovering alcoholic/drug addict, also claims that his mother was fairly good-natured about his multiple trips to rehab, whereas most other mothers would be horrified or ashamed. He describes a moment during a family rehab meeting where his mother got the family to laugh so hard in what was supposed to be a serious gathering, they almost got kicked out of the meeting.

Judy Gold says in the documentary that she had the quintessential nagging, over-protective Jewish mother, Ruth Gold, who liked to leave long, demanding phone messages. Gold’s mother passed away in 2015, but Gold still plays some of her mother’s phone messages in her stand-up comedy act. She also plays some of the phone messages in the documentary and remembers that she did not get much overt affection from her parents when she was growing up.

Gold also says that her parents weren’t the type to hug their children and say, “I love you.” Instead, in her family, people would be rewarded based on whoever did the best to “one-up” the others with a quip. Still, Gold says that toward the end of her mother’s life, she did express her love more openly, and she shares an emotionally touching memory of what happened the last time she spoke with her mother.

One of the issues that the documentary covers is how mothers react when they find out that their children want to be professional comedians. Roy Wood Jr. says it was a very uncomfortable experience for him, since he had dropped out of Florida A&M University after being put on probation for shoplifting. He secretly started doing stand-up comedy in 1999, and when he told his mother, Joyce Dugan Wood, that he wanted to do stand-up comedy full-time, she was very upset.

“She definitely felt my priorities were in the wrong place,” he says. So, in order to please his mother, Roy went back to Florida A&M. And when he graduated, he gave his mother the plaque of the college degree that “I didn’t need” and began pursuing a full-time comedy career. Now that he’s become a successful comedian (including a stint as a correspondent on “The Daily Show”), Wood says of his mother’s approval: “These days, I feel supported.”

When comedian/actress Awkwafina (whose real name is Nora Lum) was 4 years old, her mother died, so when she was growing up, her paternal grandmother was Awkwafina’s main mother figure. While most people in Awkwafina’s family had expectations for her to going into a traditional profession, her paternal grandmother encouraged Awkwafina to pursue her dreams in entertainment.

Although many of these comedians say vulgar things about their families in their stand-up acts, the documentary shows that a lot of stand-up comedians have a soft spot for their mothers and like to hang out with them. Kristen Schaal and her look-alike mother, Pam Schaal, are seen shopping together at a fabric store. Norm Macdonald and his mother, Ferne Macdonald, play Scrabble and golf together. Wood’s mother Joyce accompanies him to a tuxedo fitting.

But not all of these mother-child moments are warm and fuzzy. Some of the comedians, such as Norton and Spade, admit to changing their shows to being less offensive and less raunchy if they know their mothers are going to be in the audience.

Norton says that he’s felt uncomfortable at times when his sex life (which he talks about in his stand-up comedy routine) is a topic of conversation with his mother. Norton remembers how after he did a stand-up show where he talked about his experiences of hiring hookers, he got a call from his mother suggesting that he join a gym to meet new people and improve his dating life. (In the documentary, he even plays the voice mail from 2001 to prove it.)

As for talking about their mothers in their stand-up comedy acts, Koy says that it was hard for him to do at first, but his mother and the rest of his family have gotten used to it. Feinstein says about her mother: “She likes it when I impersonate her. She gets upset if I don’t.”

Fortune Feimster says something similar, in an interview seated next her mother, Ginger Feimster: “She would rather me talk about her and be the center of attention than me not talk about her at all,” Fortune says. “She’s a good sport and she likes the attention.” Ginger Feimster says in response, “That is so true.”

Whether these comedians’ relationships with their mothers have been good or not-so-good, one thing that most people can agree on is a sentiment that Gold expresses in the movie that is a tried and true cliché: “There’s nothing like a mother’s love.” And at the very least, this documentary might inspire people to get in touch with their mothers to express gratitude if their mothering wasn’t a complete disaster.

Comedy Central premiered “Call Your Mother” on May 10, 2020.

2019 IFP Gotham Awards: ‘Marriage Story’ is the top winner

December 2, 2019

by Carla Hay

Netflix’s “Marriage Story,” writer/director Noah Baumbach’s drama about the contentious divorce of a director and an actress, was the top winner at the 29th Annual Independent Filmmaker Project (IFP) Gotham Awards, which were presented at Cipriani Wall Street in New York City on December 2, 2019.  “Marriage Story” won in every category for which it was nominated: Best Feature, Best Actor (for Adam Driver), Best Screenplay and Gotham Audience Award. There is no separate category for Best Director. The award for Best Feature goes to the director and producers.

Meanwhile, Awkwafina won Best Actress for A24’s “The Farwell,” a drama about a Chinese family who decides not to tell the family matriarch that she has cancer.  Taylor Russell of the African American family drama A24’s “Waves” was named Breakthrough Actor, while Laure De Clermont-Tonnerre of Focus Features’ “The Mustang” won the prize for Bingham Ray Breakthrough Director. Netflix’s “American Factory,” about the culture clash between American factory workers and the factory’s Chinese owners, was named Best Documentary.

For TV series, Netflix’s “When They See Us” about the Central Park Five was named Breakthrough Series–Long Format, while Hulu’s comedy “PEN15” was award Breakthrough Series–Short Format.

In addition to the competitive awards, Gotham Tributes were given to actors Laura Dern and Sam Rockwell, director Ava DuVernay, and the Gotham Industry Tribute to Glen Basner.

The dominance of Netflix at the award show signals that the streaming service has considerably increased its clout for movie awards. Netflix’s 2018 drama “Roma” dominated much of the top prizes for that awards season. For 2019, Netflix has top contenders “Marriage Story” (which qualifies for all movie awards for U.S. films) and “The Irishman,” whose large budget (a reported $140 million) makes it ineligible for independent film awards.

Because Netflix films are not carried by major movie theater chains in the U.S. and many other countries (due to Netflix making its movies available on the streaming services less than 60 days after their theatrical release), it remains to be seen how Netflix’s nonconformist business policies for movies will affect its chances for Best Picture prizes at award shows, such as the Oscars and Golden Globes, where Netflix has to compete against traditional major studios.

Here is the complete list of winners and nominations for the 2019 IFP Gotham Awards:

*=winner

Best Feature
The Farewell
Lulu Wang, director; Daniele Melia, Marc Turtletaub, Peter Saraf, Andrew Miano, Chris Weitz, Jane Zheng, Lulu Wang, Anita Gou, producers (A24)

Hustlers
Lorene Scafaria, director; Jessica Elbaum, Elaine Goldsmith-Thomas, Jennifer Lopez, Benny Medina, Will Ferrell, Adam McKay, producers (STXfilms)

Marriage Story*
Noah Baumbach, director; Noah Baumbach, David Heyman, producers (Netflix)

Uncut Gems
Josh Safdie, Benny Safdie, directors; Scott Rudin, Eli Bush, Sebastian Bear McClard, producers (A24)

Waves
Trey Edward Shults, director; James Wilson, Kevin Turen, Trey Edward Shults, producers (A24)

Best Documentary
American Factory*
Steven Bognar, Julia Reichert, directors; Steven Bognar, Julia Reichert, Jeff Reichert, Julie Parker Benello, producers (Netflix)

Apollo 11
Todd Douglas Miller, director; Todd Douglas Miller, Thomas Baxley Petersen, Evan Krauss, producers (NEON and CNN Films)

The Edge of Democracy
Petra Costa, director; Petra Costa, Tiago Pavan, Joanna Natasegara, Shane Boris, producers (Netflix)

Midnight Traveler
Hassan Fazili, director; Emelie Mahdavian, Su Kim, producers (Oscilloscope Laboratories)

One Child Nation
Nanfu Wang, Jialing Zhang, directors; Nanfu Wang, Jialing Zhang, Christoph Jörg, Julie Goldman, Christopher Clements, Carolyn Hepburn, producers (Amazon Studios)

Bingham Ray Breakthrough Director Award
Laure De Clermont-Tonnerre for The Mustang (Focus Features)*

Kent Jones for Diane (IFC Films)

Joe Talbot for The Last Black Man in San Francisco (A24)

Olivia Wilde for Booksmart (United Artists Releasing)

Phillip Youmans for Burning Cane (ARRAY Releasing)

Best Screenplay
The Farewell, Lulu Wang (A24)

High Flying Bird, Tarell Alvin McCraney (Netflix)

The Last Black Man in San Francisco, Jimmie Fails, Joe Talbot, Rob Richert (A24)

Marriage Story, Noah Baumbach (Netflix)*

Midsommar, Ari Aster (A24)

Best Actor
Willem Dafoe in The Lighthouse (A24)

Adam Driver in Marriage Story (Netflix)*

Aldis Hodge in Clemency (NEON)

André Holland in High Flying Bird (Netflix)

Adam Sandler in Uncut Gems (A24)

Best Actress
Awkwafina in The Farewell (A24)*

Elisabeth Moss in Her Smell (Gunpowder & Sky)

Mary Kay Place in Diane (IFC Films)

Florence Pugh in Midsommar (A24)

Alfre Woodard in Clemency (NEON)

Breakthrough Actor
Julia Fox in Uncut Gems (A24)

Aisling Franciosi in The Nightingale (IFC Films)

Chris Galust in Give Me Liberty (Music Box Films)

Noah Jupe in Honey Boy (Amazon Studios)

Jonathan Majors in The Last Black Man in San Francisco (A24)

Taylor Russell in Waves (A24)*

Breakthrough Series – Long Format (over 40 minutes)
Chernobyl, Craig Mazin, creator; Craig Mazin, Carolyn Strauss, Jane Featherstone, executive producers (HBO)

David Makes Man, Tarell Alvin McCraney, creator; Mike Kelley, Melissa Loy, Tarell Alvin McCraney, Denitria Harris-Lawrence, Michael B. Jordan, Oprah Winfrey, executive producers (OWN: Oprah Winfrey Network)

My Brilliant Friend, Saverio Costanzo, creator; Domenico Procacci; Lorenzo Mieli, Mario Gianani, Guido De Laurentiis, Elena Recchia, Jennifer Schuur, Paolo Sorrentino, executive producers (HBO)

Unbelievable, Susannah Grant, Sarah Timberman, Carl Beverly, Lisa Cholodenko, Ayelet Waldman & Michael Chabon, Katie Couric, Richard Tofel, Neil Barsky, Robyn Semien, Marie, executive producers (Netflix)

When They See Us, Ava DuVernay, creator; Jeff Skoll, Jonathan King, Jane Rosenthal, Robert De Niro, Berry Welsh, Oprah Winfrey, Ava DuVernay, executive producers (Netflix)*

Breakthrough Series – Short Format (under 40 minutes)
PEN15, Maya Erskine, Anna Konkle, Sam Zvibleman, creators; Anna Konkle, Sam Zvibleman, Debbie Liebling, Gabe Liedman, Marc Provissiero, Brooke Pobjoy, Andy Samberg, Jorma Taccone, Akiva Schaffer, Becky Sloviter, Shelley Zimmerman, Brin Lukens, Jordan Levin, executive producers (Hulu)*

Ramy, Ramy Youssef, Ari Katcher, Ryan Welch, creators; Ramy Youssef, Jerrod Carmichael, Ravi Nandan, Bridget Bedard, Ari Katcher, Ryan Welch, executive producers (Hulu)

Russian Doll, Natasha Lyonne, Leslye Headland, Amy Poehler, creators; Natasha Lyonne, Leslye Headland, Amy Poehler, Dave Becky, Tony Hernandez, Lilly Burns, Allison Silverman, executive producers (Netflix)

Tuca & Bertie, Lisa Hanawalt, creator; Lisa Hanawalt, Raphael Bob-Waksberg, Noel Bright, Steven A. Cohen, Tiffany Haddish, Ali Wong, executive producers (Netflix)

Undone, Kate Purdy, Raphael Bob-Waksberg, creators; Kate Purdy, Raphael Bob-Waksberg, Noel Bright, Steven A. Cohen, Tommy Pallotta, executive producers (Amazon Prime Video)

Gotham Audience Award
Marriage Story*

IFP members determined the Gotham Audience Award with nominees comprised of the 15 nominated films in the Best Feature, Best Documentary, and Bingham Ray Breakthrough Director Award categories.

2019 Academy Awards: performers and presenters announced

February 11, 2019

by Carla Hay

Bradley Cooper and Lady Gaga
Bradley Cooper and Lady Gaga at the 76th Annual Golden Globe Awards on January 6, 2019. (Photo by Paul Drinkwater/NBC)

The Academy of Motion Picture Arts and Sciences has announced several entertainers who will be performers and presenters at the 91st Annual Academy Awards ceremony, which will take place at the Dolby Theatre in Los Angeles. ABC will have the U.S. telecast of the show, which will not have a host. As previously reported, comedian/actor Kevin Hart was going to host the show, but he backed out after the show’s producers demanded that he make a public apology for homophobic remarks that he made several years ago. After getting a  firestorm of backlash for the homophobic remarks, Hart later made several public apologies but remained adamant that he would still not host the Oscars this year.

The celebrities who will be on stage at the Oscars this year are several of those whose songs are nominated for Best Original Song. Lady Gaga and Bradley Cooper will perform their duet “Shallow” from their movie remake of “A Star Is Born.” Jennifer Hudson will perform “I’ll Fight” from the Ruth Bader Ginsburg documentary “RBG.” David Rawlings and Gillian Welch will team up for the duet “When a Cowboy Trades His Spurs for Wings” from the Western film “The Ballad of Buster Scruggs.” It has not yet been announced who will perform “The Place Where Lost Things Go” from the Disney musical sequel “Mary Poppins Returns.”** It also hasn’t been announced yet if Kendrick Lamar and SZA will take the stage for “All the Stars” from the superhero flick “Black Panther.”

Gustavo Dudamel and the L.A. Philharmonic do the music for the “In Memoriam” segment, which spotlights notable people in the film industry who have died in the year since the previous Oscar ceremony.

Meanwhile, the following celebrities have been announced as presenters at the ceremony: Whoopi Goldberg (who has hosted the Oscars twice in the past), Awkwafina, Daniel Craig, Chris Evans, Tina Fey, Jennifer Lopez, Amy Poehler, Maya Rudolph, Amandla Stenberg, Tessa Thompson Constance Wu, Javier Bardem, Angela Bassett, Chadwick Boseman, Emilia Clarke, Laura Dern, Samuel L. Jackson, Stephan James, Keegan-Michael Key, KiKi Layne, James McAvoy, Melissa McCarthy, Jason Momoa and Sarah Paulson. Goldberg and Bardem are previous Oscar winners.

Other previous Oscar winners taking the stage will be Gary Oldman, Frances McDormand, Sam Rockwell and Allison Janney, who won the actor and actress prizes at the 2018 Academy Awards.

Donna Gigliotti (who won an Oscar for Best Picture for 1998’s “Shakespeare in Love) and Emmy-winning director Glenn Weiss are the producers of the 2019 Academy Awards. This will be the first time that Gigliotti is producing the Oscar ceremony. Weiss has directed several major award shows, including the Oscars and the Tonys. He will direct the Oscar ceremony again in 2019.

**February 18, 2019 UPDATE: Bette Midler will perform “The Place Where Los Things Go,” the Oscar-nominated song from “Mary Poppins Returns.” British rock band Queen, whose official biopic is the Oscar-nominated film “Bohemian Rhapsody,” will also perform on the show with lead singer Adam Lambert. It has not been revealed which song(s) Queen will perform at the Oscars.

February 19, 2019 UPDATE: These presenters have been added to the Oscar telecast: Elsie Fisher, Danai Gurira, Brian Tyree Henry, Michael B. Jordan, Michael Keaton, Helen Mirren, John Mulaney, Tyler Perry, Pharrell Williams, Krysten Ritter, Paul Rudd and Michelle Yeoh.

February 21, 2019 UPDATE: These celebrities will present the Best Picture nominees: José Andrés, Dana Carvey, Queen Latifah, Congressman John Lewis, Diego Luna, Tom Morello, Mike Myers, Trevor Noah, Amandla Stenberg, Barbra Streisand and Serena Williams.

2018 Hollywood Film Awards: Awkwafina is the host of the show

November 1, 2018

Awkwafina
Awkwafina at the Los Angeles premiere of “Crazy Rich Asians” at TCL Chinese Theatre on August 7, 2018. (Photo by Eric Charbonneau)

Dick Clark Productions announced today that actress Awkwafina will host the 22nd Annual Hollywood Film Awards on Sunday, November 4 at the Beverly Hilton in Beverly Hills. Deep in the midst of her star-making moment with key roles in the hit films “Oceans 8” and “Crazy Rich Asians,” the recent “SNL” host will take the stage alongside some of the biggest names in entertainment to lead the audience through an incredible night of honoring the best in film.

Honorees for the 2018 “Hollywood Film Awards” include Nicole Kidman, who will receive this year’s Hollywood Career Achievement Award; Glenn Close, who will receive the Hollywood Actress Award; Hugh Jackman, who will receive the Hollywood Actor Award; Damien Chazelle, who will receive the Hollywood Director Award; Timothée Chalamet, who will receive the Hollywood Supporting Actor Award; “Green Book,” which will receive the Hollywood Ensemble Award; “Crazy Rich Asians,” which will receive the Hollywood Breakout Ensemble Award; Amandla Stenberg, who will receive the Hollywood Breakout Performance Actress Award; John David Washington, who will receive the Hollywood Breakout Performance Actor Award; Felix Van Groeningen, who will receive the Hollywood Breakthrough Director Award; Yalitza Aparicio, who will receive the New Hollywood Award; and Peter Farrelly, Nick Vallelonga and Brian Hayes Currie, who will receive the Hollywood Screenwriter Award for “Green Book.”  “Believer” will receive the “Hollywood Documentary Award, “Incredibles 2” will receive the Hollywood Animation Award, and “Black Panther” will receive the “Hollywood Film Award.”

Dan Reynolds, Tim Edgar and Hans Zimmer are also set to perform the empowering single, “Skipping Stones,” from the documentary “Believer” at this year’s show.

The Hollywood Film Awards also recognizes excellence in the art of cinema in all disciplines of filmmaking.  Matthew Libatique to receive Hollywood Cinematography Award for “A Star Is Born“; Justin Hurwitz to receive Hollywood Film Composer Award for “First Man”; Tom Cross to receive Hollywood Editor Award for “First Man’} Dan Deleeuw, Kelly Port, Russel Earl, Dan Sudick to receive Hollywood Visual Effects Award for “Avengers: Infinity War“; Sandy Powell to receive Hollywood Costume Design Award; for “The Favourite”; Jenny Schircore, Sarah Kelly, Hannah Edwards to receive Hollywood Make-Up & Hair Styling Award for “Mary Queen of Scots”; Hannah Beachler to receive Hollywood Production Design Award for “Black Panther”; and Erik Aadahl, Ethan Van der Ryn, Brandon Proctor to receive Hollywood Sound Award for “A Quiet Place.”

The 22nd Annual Hollywood Film Awards will take place on Sunday, November 4 at The Beverly Hilton.

The Hollywood Film Awards, honoring the most acclaimed films and actors while previewing highly anticipated films and talent for the upcoming year, also acknowledges artists in the categories of Cinematography, Visual Effects, Film Composing, Costume Design, Editing, Production Design, Sound and Makeup & Hairstyling. In its 22-year history, more than 320 of the world’s biggest stars and filmmakers have been highlighted at the “Hollywood Film Awards” and more than 130 of the honorees have gone on to garner Oscar nominations and/or wins.

ABOUT THE HOST
Awkwafina is an American actress, writer, rapper and musician from Queens, New York. Awkwafina, whose given name is Nora Lum, brings an impressive range of talent peppered with her signature flair, and has become a major breakout talent of summer 2018. Lum can most recently be seen on the big screen as Peik Lin in Warner Bros’ “Crazy Rich Asians” opposite Constance Wu, Michelle Yeoh, Henry Golding & Ken Jeong. The film opened August 15, 2018 to rave reviews. She also hosted “Saturday Night Live” on October 6, 2018 in the show’s 44th Season. Earlier this year, Lum was seen in Warner Bros’ box-office hit “Ocean’s 8,” which was directed by Gary Ross and featured an ensemble cast including Sandra Bullock, Cate Blanchett, Anne Hathaway, Mindy Kaling, Sarah Paulson, Rihanna and Helena Bonham Carter. Prior to that she starred in the indie comedy “Dude,” written and directed by Olivia Milch, which follows four best girlfriends in the last two weeks of their senior year in high school. Upcoming, Lum will star in the indie dramas “Paradise Hills,” opposite Emma Roberts, Eiza González, Milla Jovovich and Danielle Macdonald, as well as an untitled film written and directed by Lulu Wang. Lum made her feature film debut in the comedy Neighbors 2: Sorority Rising, with Seth Rogen, Zac Efron and Rose Byrne. She was also heard as the voice of Quail in the 2016 animated adventure “Storks.” Noted for the satire of her hilarious original music, Awkwafina became an internet sensation in 2012 with her viral video “My Vag.” Her 2014 debut album featured her acclaimed raps “NYC Bitche$,” “Mayor Bloomberg (Giant Margarita),” and the title track, “Yellow Ranger.”  Her first book, “Awkwafina’s NYC,” a travel guide to New York, was published by Penguin Random House in 2015. Lum is currently developing a scripted series with Comedy Central in which she will also star.

For the latest news, follow the Hollywood Film Awards on social and join the conversation by using the official hashtag for the show, #HollywoodAwards.

Twitter: @HollywoodAwards
Facebook: Facebook.com/HollywoodAwards
Instagram: @hollywoodawards
YouTube: youtube.com/HollywoodAwards

About Dick Clark Productions
Dick Clark Productions (DCP) is the world’s largest producer and proprietor of televised live event entertainment programming with the “Academy of Country Music Awards,” “American Music Awards,” “Billboard Music Awards,” “Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest” and the “Streamy Awards.” Weekly television programming includes “So You Think You Can Dance” from 19 Entertainment and DCP. DCP also owns one of the world’s most unique and extensive entertainment archive libraries with over 60 years of award-winning shows, historic programs, specials, performances and legendary programming. DCP is a division of Valence Media, a diversified media company with divisions and strategic investments in premium television, wide release film, specialty film, live events and digital media. For additional information, visit www.dickclark.com.

About The Hollywood Film Awards
The Hollywood Film Awards, founded in 1997, were created to celebrate Hollywood and launch the awards season. The recipients of the awards are selected by an Advisory Team for their body of work and/or a film(s) that is to be released during the calendar year. For additional information, visit www.hollywoodawards.com.

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