Metropolitan (A-). Well, your reviewer was feeling a bit under the weather, so I wanted something light and cheery. I had fond memories of this 1990 indie flick but hadn’t seen it in years, so I pulled down my unwatched Criterion Collection DVD and gave it a spin. Suffice to say, it was as good as I remembered it being. It is about eight young people—four girls and four guys, early college-age, as best I can tell—who gather almost every night in Manhattan over one Christmas break to go to various debutante parties or balls or whatever they are. We don’t see too much of the parties themselves—the focus is on the after-parties, where the youngsters earnestly discuss all sorts of things you might not expect, like Jane Austen, the existence of God, and the relative merits of the bourgeoisie. Hm, I’m not really selling the movie very well. There are plenty of romantic complications too as sweet and inexperienced Audrey gets a crush on group newcomer and professed socialist Tom, who is still hung up on his ex-girlfriend Serena, who was last known to be dating the repellent Rick Von Sloneker. And the dialogue really is very funny, at least if you think it’s funny to hear lines like “Ours is probably the worst generation since the Protestant Reformation” delivered by very young people with drop-dead seriousness.
Writer-director-producer Whit Stillman went on to make two other excellent films in the 1990s, Barcelona and The Last Days of Disco, (starring Chloë Sevigny and Kate Beckinsale). Enough people took notice of his work to result in the 2002 publication of a book called Doomed Bourgeois in Love: Essays on the Films of Whit Stillman. Stillman then went quiet for a long time. Then in 2011 he released Damsels in Distress, which I thought was good but not as good as his prior work, and then in 2016 he released the better Love & Friendship. IMDB.com doesn’t show that he has anything new in the works, but I’m holding out hope. If you are new to his work I recommend you start at the beginning and give Metropolitan a try!
Lady Bird (B+). Indie actress Greta Gerwig (Mistress America) wrote and directed this indie dramedy about a high-spirited girl’s tumultuous senior year in a Sacramento Catholic school and her rocky relationship with her mother. I enjoyed it, and it moved along with a brisk 94-minute run time. Saoirse Ronan (The Way Back) shines as the title character (she’s named Christine McPherson, but she insists on being called Lady Bird), and we follow the ups and downs of her experience in Drama Club, her crushes, her relationship with her best friend Julie (Beanie Feldstein, Neighbor 2: Sorority Rising), her college aspirations, and most of all her relationship with her mother, a hard-working and long-suffering psychiatric nurse (Laurie Metcalf, TV’s Roseanne). Based on Ms. Gerwig’s IMDB biography, I’d say this movie has a strong autobiographical component. It also has a 94 score over on Metacritic.com, so what are you waiting for?
Brad’s Status (B-). Hm, Ben Stiller plays a guy facing a midlife crisis. Didn’t he just do this a few years ago in While We’re Young? Well, he’s at it again in this new dramedy, with fair to middling results. Here it’s not just middle age that’s getting to Brad Sloan (Stiller), but also Facebook. Brad, you see, has a perfectly decent middle-class life in Sacramento with a cute, loving wife (Jenna Fischer, Walk Hard: The Dewey Cox Story) and a musically talented teenage son (Austin Abrams, Paper Towns). But his best friends from college (played by guys like Luke Wilson, The Skeleton Twins, and Michael Sheen, Passengers) are all (according to Facebook) wildly successful in various ways, and some 25 years after college they’re starting to leave Brad out of their get-togethers. This eats away at Brad something fierce, and we hear his neurotic thoughts in frequent voiceovers. And his unhappy thoughts provoke some awkward and embarrassing behavior when he and his son go tour some colleges in the northeast. I didn’t think it was bad, and I particularly enjoyed a scene in which a perceptive Harvard student calls Brad out on his very First World problems. Worth a look if Blade Runner 2049 is sold out.
The Big Sick (B). This is a pleasant and affable little romantic comedy with a couple of twists. First, it’s apparently based on the star’s real life romancing of his wife. And second, the main plot point is that the female lead (Zoe Kazan, What If) gets a mysterious illness that puts her into a coma halfway through the movie. After that, it’s mostly about the fellow, Kumail (Kumail Nanjiani, Life as We Know It) having to deal with the girl’s parents (well-played by Ray Romano, TV’s Everybody Loves Raymond, and Holly Hunter, Thirteen) while their daughter is in potentially mortal danger. Also, he’s juggling his would-be career as a stand-up comedian and his overbearing Pakistani parents’ attempts to push him into an arranged marriage. Not everything totally worked for me, but there were enough chuckles, and the leads were likable enough, that I enjoyed it.
The Edge of Seventeen (B-). This new tale of teen angst stars Hailee Steinfeld (Begin Again) as Nadine, a miserable and thoroughly unpleasant high-school student whose entire wardrobe seems to consist of barely-there skirts and shorts. Nadine doesn’t get along with either her mom or her older brother. To make matters worse, her only friend in the world (Haley Lu Richardson, Columbus) starts dating said older brother, which only makes Nadine more miserable and, amazingly, even more unpleasant. Really, Nadine is so obnoxious and filled with self-loathing that I found it very hard to empathize with her, She seemed borderline mentally ill. The movie’s bright spot is Nadine’s friendship with her history teacher, Mr. Bruner (Woody Harrelson, Management). Bruner’s dryly sarcastic responses to Nadine’s various crises had the whole theater laughing out loud. Basically, all the scenes involving Bruner are great, and the rest of the movie is so-so. And please note that the R rating for language and sexual content is well deserved.
Don’t Think Twice (B-). Two things drew me to check out this movie about six friends who perform together as an improv comedy troupe—its crazy high Rotten Tomatoes score (99%) and the fact that it co-stars Gillian Jacobs of my beloved TV show Community. Fact is, the movie is just OK. Most of the interest is provided by the rivalries, envies, and insecurities of the various members of the group. Everyone wants to break into a certain TV comedy show (a very thinly disguised Saturday Night Live), but of course not everyone can succeed. Additional interest is created when the father of a group member has a health crisis. And, of course, the movie shows how hard improv is. Not a bad way to spend 92 minutes.
Maggie’s Plan (B). I rather liked this little independent comedy, even though it chronicles the ongoing destruction (deconstruction? displacement?) of traditional marriage as the customary and assumed center of family life. Indie queen Greta Gerwig (Damsels in Distress) stars as Maggie, an unattached thirtysomething New Yorker who is on the verge of attempting to become a mother via sperm donation (but not from an anonymous donor; she picks a smart guy she knew in college who’s on the verge of great success as a pickle entrepreneur).
ARGUABLE SPOILERS FOLLOW.
But this whole plan gets derailed when she meets and falls in love with John (Ethan Hawke, Before Sunset), an anthropologist and would-be novelist. The feeling is mutual, but John’s married to Georgette (Julianne Moore, in full-out Teutonic The Big Lebowski mode) and has two kids. But then, lickety-split, John and Georgette are divorced, John and Maggie are married and have a little girl—and Maggie starts falling out of love with John and hatches a plan to get Georgette and John back together. As Maggie’s pal Tony (Bill Hader, Trainwreck) asks, why can’t she just leave John like a normal person? I guess it’s because Maggie is played by Greta Gerwig, and that’s not how a Greta Gerwig character rolls. Anyway, Greta Gerwig brings her usual charm to the proceedings, and I pretty much enjoyed it.