Why Him?

First Hit:  A couple of out loud funny bits but in the end there is nothing there.

At best, this was a mediocre film. The concept of a wild youngish video game internet programmer making it big and falling in love with a young pretty smart Stanford girl from the Midwest is not too far fetched and could have been fun. The premise is that she wants her conservative family to meet him for the first time during the holidays and that this is where the fireworks and comedy are supposed to happen.

This premise had potential but where did it fail. For me, first and foremost was the poor writing. From the beginning Laird Mayhew’s (James Franco) character was poorly based and thoughtlessly conceived. Why make him hang around shirtless most of the time? What is the point of this? How many young game, internet developers and entrepreneurs do you hear about that hang out with only their loose pants on. Yes, they might wear hoodies and baggy clothing but shirtless is not the Silicon Valley style so this was missed completely. Second saying “fuck” 3 times in almost every sentence is not only off putting but unneeded to denote edginess. Lastly, the overdone staging and home filled with stupid art (some of it Franco’s own) including a preserved buffalo submerged in its own urine tries to make the case that young rich entrepreneurs have a interesting appreciation of art.

All this is the writers’ fault. The writers didn’t want to look for subtle or interesting ways to create comedic exchanges, everything here is overt, in your face and hammer like: Things like the art which was uninteresting. The overdone characters like Gustav (Keegan-Michael Key) who is Laird’s gentlemen’s gentlemen. The sets with programmers doing little in every room in the house. The helicopter landing in the middle of the street in front of Flemings’ home – just isn’t going to happen or be allowed. All of these things were overtly stupid just like Laird’s tattoo of the Fleming family on his back. All this and more made up the lack of thoughtful intelligent comedy.

Although the cast with Bryan Cranston (as Stephanie’s father Ned Fleming), Zoey Deutch (as Stephanie), Megan Mullally (as Stephanie’s mother Barb Fleming), Griffin Gluck (as Stephanie’s brother Scotty) and Franco was strong, every scene appeared to be approached like a tidal wave which was the real failing of this film.

Franco’s character was overdone and overbearing to make him at all believable. Cranston was as good as he could be with his given script. Deutch was solid enough but the script let her down. Muallally was OK and I will continue to repeat myself the script was her downfall. Gluck was OK as the son who wanted to come out of the shadows. Key was OK as the together person behind a unhinged Laird. Jonah Hill, John Hamburg, and Ian Helfer wrote this insipid mindless script. While Hamburg made the script worse with overdone scenes that were obvious and telegraphed.

Overall:  This film is a waste of money and time and will probably not be profitable.

Don't Think Twice

First Hit:  At times funny, occasionally awkward, and might have been better as a documentary.

The way this film begins it almost feels like a documentary, and there are segments that were documentary like, however it isn’t.

The Commune is a small group of improvisational comedians and this film follows them as they do performances that feel very authentic. Prior to each show the group riffs with each other, hug and reaffirm they have each other’s back, and touch a lucky charm before going on stage.

The theater is small and usually full and mostly because they are good and the seats are cheap. It is easy to see that this group loves improv and they are committed to each other. They barely make any money and live mostly together in shared housing and although one of the team might have access to family money, they take other jobs to keep themselves in food.

Their goal is to get on a television program called “Weekend Live” which is a takeoff of “Saturday Night Live”. Being on this program would mean fame and a regular, much larger, paycheck.

There is some competition among the group to get noticed by the Weekend Live staff. Some in the group are more talented, some are better bit writers, and some are more driven. However, there are others who just want to be in the cocoon of the group because it is where they fit.

The group consists of Miles (Mike Birbiglia) who is a teacher of improve at a school, Samantha (Gillian Jacobs) who loves the group and has a poor sense of time (in some ways), Allison (Kate Micucci) is one of the more introspective and talented member, Lindsay (Tami Sagher) is one who has access to money, but loves the bohemian lifestyle, Jack (Keegan-Michael Key) who wants fame the most and puts himself in place to make it happen, and Bill (Chris Gethard) who seems out of place, yet is a critical member.

The story is about how they react and support each other in finding a new place to create their form of art, how they act when someone gets noticed, and what they learn about themselves along the way.

Birbiglia wrote, directed and has a primary role in this film. Overall, his character is one that has to learn a lot about who he is and in this vein he was good. Jacobs is strong as the person who is clear about her wants, but has difficulty expressing them. Micucci, played a little like the character she has played on “Big Bang Theory”, which is the person unsure of her skills. Sagher is good as the girl who is trying to make her own way although the team knows her family has money. Gethard is good as the guy in the background who gets to express himself on stage. Key is very good as the big personality and the one who aggressively wants to make it big. He does well at showing his compassion for the others and engaging in his success. The writing was at times strong and other times seemed unclear of direction.

Overall:  This film didn’t seem quite focused enough to know where its strengths were.

Keanu

First Hit:  Oddly funny, slightly creative and occasionally violent film that kept my attention while the kitten stole the show.

There is a fair amount of violence in this film as telegraphed in one of the very early scenes when the Allentown Boys, Oil and Smoke Dresden (Jordan Peele and Keegan-Michael Key respectively), wipe out a drug cartel then take their money and Keanu (the kitten).

Keanu gets away and shows up at Rell Williams’ (Peele again) apartment. The kitten brings hope and joy to Williams who has just lost another girlfriend. His closest friend Clarence Goobril (Key again) is a very upbeat guy and is happy for Williams because of the kitten.

When Keanu is stolen by Cheddar (Method Man) the head of another drug gang, he steps up and combines forces with his friend to find and get the kitten back. This set up takes them out of their normal behavior and has them trying to be tough, street smart, and with killer reputations to infiltrate Cheddar’s drug HQ, which is in a strip club.

Pretending to be the Allentown Boys they gain access to Cheddar's gang and the task to get Keanu back becomes their focus. It is the prize that makes this film work.

Peele is funny both as the pot smoking depressed guy that finds a reason to take chances and the tough hombre willing to kill to get his cat. Key is even more interestingly funny as a very straight guy who also has some soul and smarts. Man is OK as the head of a small cartel. Tiffany Haddish is wonderful as Hi-C an undercover cop and part of Cheddar’s gang. Darrell Brit-Gibson, Jason Mitchell, and Jamar Malachi Neighbors are wonderful as Cheddars gang members who come under the spell of Goobril when listening to George Michael music. Peele and Alex Rubens wrote this odd, yet funny script. Peter Atencio did a great job of directing this odd script and the effective shots of the kitten being a kitten were fabulous.

Overall:  Although there were times I wanted the film to move to the next scene, it did provide fun entertainment.