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Dan the Man's Movie Reviews

All my aimless thoughts, ideas, and ramblings, all packed into one site!

Tag Archives: John O’Brien

Being Flynn (2012)

Happy that my dad has a roof over his head and isn’t a complete dick.

Aspiring writer Nick Flynn (Paul Dano) begins working at a homeless shelter and develops a drug problem he struggles to control. His father, Jonathan (Robert De Niro), is a con man who was never there for him as a child and still considers himself to be one of the greatest, living writers of all-time, despite never being published. Jonathan actually stumbles upon Nick one day at the homeless shelter and is need of a place to stay. But, as predicted, Jonathan finds problems with just about everything around him.

The problem with Being Flynn, right away, is that its whole idea of a joke is to have its character, Jonathan Flynn, narrate some of the movie and talk like he’s the greatest novelist of all-time and is a walking genius, even though nobody knows it. Problem is, he doesn’t know it. That idea of a joke can be a little humorous at times (because let’s face it, who doesn’t love to crack a couple of chuckles at older, Alzheimer-bound men), but it gets annoying and repetitive, as if the movie didn’t realize the butt of its own end joke was meant for the character, and not for the freakin’ movie itself.

But this turns out to be the whole movie. Just one long joke that nobody ever seems to get the hang of telling better.

Shirt by any chance? No? Nope, that's okay. Whatever suits you best.

Shirt by any chance? No? Nope, that’s okay. Whatever suits you best.

And this is a shame because the material for Being Flynn seems as if it has more to it than just being “a joke”. But what ultimately happens is that it just lingers and gives this Jonathan character another reason to yell, scream, and scam his way some more into people’s lives. I never, not for once, felt any ounce of sympathy for these characters and even when it seemed like they were going through problems as people of society, and of people going through age, I still never bought them.

There were some elements I did buy, like the fact that Nick does go down a bit of a rocky road with drugs and needs to change his life around to be a better person. But that’s about it. Other than all of Nick’s problems that could have pretty much been centered-down to, “Yeah, my dad left me when I was a baby, my mom raised me, slept with a bunch of dudes, and killed herself”, Jonathan’s problems seem to be a bit more scary in the way that the guy is homeless, the guy is out in the cold, and the guy is a bit of an over-zealous dick. That fear of him dying never hit me hard enough, just because he’s a, well, a dick.

As plain and simple as that.

I think I’ve exhausted everything there is to say about the character of Jonathan Flynn, but honestly, it deserves to be said because there’s not much more to this movie than him. Which is annoying because Paul Weitz can’t help but be utterly pleased to have him being a miserable and unlikable hack that doesn’t do anything else in his life other than bullshit his way past things with that signature De Niro smile, chuckle, and charm. And heck, thanks to De Niro, it almost works!

And De Niro is fine here, but he’s saddled with a character who is just too unpleasant to give a hoot about. That’s why it was nice to see Dano at least try with the likes of Nick, another unlikable and whiny character. Dano is known for his “big” performances, but here, he dials things down for us so that we get to see Nick as more of a sad, self-destructive human being, rather than somebody who is cool because he lives life like its constant party. In a way, he’s sort of a tool, but the movie never fully digs deep into that aspect of his character; it’s just left up to Dano to pick up the pieces and work from there.

She's like a dude, but she's not. So rad, man.

Short hair, don’t care.

This is a shame, too, because Dano and De Niro, together, playing a son-father duo, seems like it would be ripe with all sorts of powerful and raw emotion. And though Dano may have been more than happy to share the screen with De Niro, Weitz’s direction and script gets in the way too much. Somebody has to learn something, somebody has to grow up, and somebody has to bond. If it’s these two, then so be it.

This is all to say that, even though they’re both solid actresses in their own rights, Julianne Moore and Olivia Thirlby aren’t used as much as they could have been to help even this movie and its melodramatic self out. Moore is mostly designated to flashback scenes, whereas Thirlby’s character has to do a little bit of heavy-lifting, both literally and figuratively, as Nick’s gal-pal. But still, her character is then soon treated as being a female love-interest for Nick to hook up with, screw around on, break up with, try to get back together with, and eventually, have all of his dreams come true because he’s, well, “a better person now than he was before”.

Bunch of BS if I ever heard it!

Consensus: Though it has a solid cast and, on occasion, director, Being Flynn falls apart because it’s not only a bit too melodramatic for its own good, but conventional, self-serving, and too smart for its own good.

3 / 10

Staring at your child in admiration: such a mother's thing to do.

Staring at your child in admiration – whatta mother!

Photo’s Credit to: Thecia.Com.Au

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Mortdecai (2015)

Funny ‘staches, get it?

Lord Charlie Mortdecai (Johnny Depp) is an eccentric British chap who likes fine women, fine drinks, fine food, fine cars, and most importantly, fine art. So much so, that it’s actually gotten him and his luscious wife (Gwyneth Paltrow) into a bit of debt; $8 million dollars in debt, to be exact, but that’s neither here nor there. What’s most important now is that Charlie and his trustee, self-proclaimed “man servant”, Jock Strapp (Paul Bettany), track down a piece of stolen art, so that they don’t get nabbed by the MI5 agent (Ewan McGregor) for any wrongdoings that they may, or may not have been up to. However, what turns out as a simple case, gets so convoluted that nearly all of the enemies in Charlie’s life, which are many, start showing up out of nowhere – not to just gather a debt from Charlie, but possibly extract some vicious revenge for any wrongdoings he may have brought their way. It may seem all bad for Charlie, but because of ever-dashing wit and charm, he seems to look on the bright side of things, or something.

The joke here is Obi-Wan Kenobi.

The joke here is Obi-Wan Kenobi.

It’s interesting to note that at one point, believe it or not, Johnny Depp was actually targeted for the role of Monsieur Gustave H. in the Grand Budapest Hotel; the same role that would eventually be taken up by Ralph Fiennes. Looking back, it’s easy to see why Depp was considered for this lead role, as Depp’s certain exuberance with most roles that he tackles, seems to fit in with Wes Anderson’s world, for better and for worse. Though it’s hard to say whether or not Depp would have actually made Hotel better, the fact remains that it still would have been an interesting choice for him to take, especially considering all of the random, and sometimes inexplicably poorly-directed, dribble he’s been appearing in as of late. Save for maybe a slight cameo here and there, overall, Depp’s film choices as of late have not been anything spectacular.

And Mortdecai, as you may have already seen, is no exception.

But it’s rather strange that most of Mortdecai feels as if it is trying oh so very hard to be such a Wes Anderson movie, that it’s easy to believe that this could possibly had been Depp’s chance to take one under his belt and give it a go; although, to be fair, this would have to be a Wes Anderson movie that Anderson himself did not want to make and more or less was asleep through half of the proceedings. Director David Koepp shoots this with as much color, whimsy and slap-dash as you’d expect Wes Anderson to have created, however, there’s something missing here that most of Anderson’s movies seems to contain: Some kind of heart. Oh, and laughs, too. That’s a very, VERY big factor.

It makes sense why Koepp is going for here with this movie – in a way, he’s trying to create a silly, screwball-ish comedy ripped-out directly from the 60’s, and into the modern day and age for a new audience that may be able to appreciate what his parents were appreciating way back when. It doesn’t work, but for the first 15 minutes or so, it’s quite effective that it only took until I saw a modern-day, pro wrestling match between WWE wrestlers Sheamus and the Big Show, that I fully realized that this was not only taking place in a certain time period, but that the time period was actually the 21st century. Hiding when exactly this story’s taking place isn’t a neat conceit, as much as it’s just a lazy way of trying to throw your audience for a loop, seemingly because it’s all you’ve got.

And in the case of Depp and Koepp, in what’s their second team-up since Secret Window, there’s really not much for the audience to get a firm grip on, so any distractions that they can throw our way necessary is all that they want to do. Maybe less so in the case of Koepp, because while his film doesn’t have its funny bone working at all, nor does it seem to realize that there’s more to life than just testicle-gags, he seems to at least dress this movie nice and handsomely enough that it’s fine to look at. It’s even enjoyable to listen to, so long as nobody’s speaking or trying to make us laugh, because it never works.

But nope, I have to say that most of the problems to be found within this movie, and the one who seems to be trying so utterly and desperately hard to distract us is Johnny Depp – an actor who, I think we can all agree on, was one of the most talented, exciting talents working in mainstream Hollywood. Nowadays, it seems as though Depp has become nothing more than just a parody of his own-self, where he produces certain films that give him the leading-role, while also allowing for him to stretch his funny-wings as far as he can, even if th

The joke here is boobs.

The joke here is boobs.

ey are beyond their initial-reach. That’s not to say that Depp isn’t funny; the man definitely has a talent for making many normal circumstances seem all the more zany because of what he brings to the table, but here, as Charlie Mortdecai, it’s so obvious that’s he really going for it here, that it makes you uncomfortable.

Sort of like that uncle you don’t see too often, who constantly tells the story about how you peed yourself when you were over his house and rather than understanding it’s a story nobody wants to hear repeated when they’re 35-years-old, married, and with kids, he still persists on going through with it because, well, what the hell, it gets a few giggles out of the surrounding crowd. The difference between the sad and lonely uncle I’ve just described and Johnny Depp, is that maybe, in the off-chance that the uncle has bribed somebody beforehand, people are actually laughing along with said uncle. As for Depp, he’s the only one laughing. And giggling. And sneezing. And cavorting. And whizzing. And, well, you get it.

Depp’s doing a lot here, and while I give him kudos for at least trying his damn-near hardest, it gets to become downright annoying after awhile. The only ones who actually make some way for comedy are the ones surrounding him, and even they have hardly anything to work with. Paul Bettany plays Mortdecai’s “man-servant” (get it, cause it’s kind of referencing gay-stuff), who has a running-gag that he can’t keep it in his pants and is constantly banging random girls, that is, whenever Mortdecai himself is not accidentally injuring him; Gwyneth Paltrow, despite being absolutely despised by practically everybody with a computer and/or Twitter, is actually quite charming in movies still and it’s nice to see her bring some life to an otherwise forgettable character; same goes for Ewan McGregor who, with his character’s gimmick that he fawns after Mortdecai’s wife’s every move, brings some much-needed wit and spark; and Jeff Goldblum, god bless his heart, shows up for maybe five minutes and does nothing. Absolutely nothing.

God, now I really want to watch a Wes Anderson movie.

Consensus: Not only is Mortdecai unfunny, but it also highlights something of a career-low in Johnny Depp’s filmography where he’s taken it upon himself to be the center of attention and never let us forget that he wants to make us laugh, or happy, by any degrading means possible.

3 / 10 = Crapola!!

The joke here is mustache, because well of course.

The joke here is mustache, because well of course.

Photo’s Credit to: Goggle Images