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Review of MARRY ME (2022) (Blu-ray combo)

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Grade:  B+/B
Romantic comedy
Rated PG-13

If you and your family are suckers for feel-good romantic comedies that follow the rom-com formula to the first 10 digits of pi, you might think about adding Marry Me to your home video collection. This far-fetched but cute 2020 movie pairs a low-key junior high math teacher with a pop superstar that’s way out of his league. 

How far out?

Jennifer Lopez plays the sexy performer Kat Valdez, who is known and loved worldwide, while Owen Wilson is meek and nerdy math teacher Charlie Gilbert, the custodial single parent of a junior-high age daughter named Lou (Chloe Coleman). The idea of a romance between a celebrity and an average person no doubt stems from those happily-ever-after fairy tales about commoners marrying a prince . . . or beauty marrying a beast. Here Wilson is the common “beast,” and that’s not just me throwing shade. There are more than a few jokes in the film about the disparity in their looks and appeal.

Instead of a “meet cute” there’s a “marry cute.” Charlie reluctantly agrees to go to a Kat Valdez concert with his best friend/co-worker (Sarah Silverman) and daughter to prove he’s a cool dad. It’s the hottest ticket in town, as the whole world is talking about the hit song that Valdez made with Latinx heartthrob Bastian (Maluma). At this concert, in front of 5000 fans and 20 million people watching on TV, the couple will perform the song live and then get married onstage.

But as Parker hands Charlie her “Marry Me” sign to hold while she takes a few photos, everyone in the room begins gasping and looking at their phones. They’re looking at film of Bastian “canoodling” (we have to bring that word back!) with Valdez’s assistant. Ouch. Valdez not only stops the concert; she talks about breaking patterns and taking a leap of faith. Seeing Charlie in the first few rows with his “Marry Me” sign she declares, “Yes. I’ll marry . . . YOU.”

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Review of MAN’S FAVORITE SPORT? (Blu-ray)

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Grade:  B-
Romantic Comedy
Not Rated (would be PG)

When Man’s Favorite Sport? was first released, film critic and cinema snob Andrew Sarris called it “a complete waste of time,” and it’s been underrated ever since. Still, Man’s Favorite Sport? finished among the 25 highest grossing pictures of 1964, so average viewers liked it well enough. It was a simple and silly diversion at a time when the country was recovering from the assassination of President Kennedy.

It was also one of my favorite rom-coms that I watched growing up, so kids also liked it well enough. In the late ‘50s and early ‘60s, rom-coms were typically bedroom romps set in cities. Man’s Favorite Sport? takes place mostly in the woods by a lake, and the plot revolves around an Abercrombie & Fitch fishing expert that’s forced to enter the annual tournament at Lake Wakapoogee . . . though he’s a big fake who’s thrown many a line but never wetted one. The attraction for younger viewers—at least back then—were such non-rom-com gags as a black bear mucking things up (even riding a scooter at one point), inflatable waders that overinflate, a running gag about a toupee that looks alive, a campsite that floats away in a storm, and plenty of accidental fishing catches played for laughs.

Nearly 30 years after his quintessential screwball comedy Bringing Up Baby, Howard Hawks decided the first of three pictures he agreed to do for Paramount would be a broad romantic comedy that paid homage to his earlier classic. It would turn out to be the legendary director’s fourth-to-last film, and his last comedy. Although Rock Hudson is no Cary Grant (Hawk’s first choice), Paula Prentiss turns in a screwball performance worthy of Katharine Hepburn herself. In fact, she’s less annoying than Hepburn’s character and her deep voice and mischievous actions were a welcome change from the high-pitched, quasi-innocent Doris Day characters.

Prentiss plays Abigail Page, a PR director for a big resort on the lake, and throughout the film her sidekick is the resort owner’s grown-up daughter, “Easy” Mueller (Maria Perschy). From an opening meet-cute involving a car and a parking space that pays obvious tribute to Bringing Up Baby, the fast-talking, insecure, but determined Abby spends most of the film trying to help Roger Willoughby (Hudson) once she learns his secret . . . and trying to help herself to Willoughby in the process. Call her a more competent and less ditzy version of Hepburn’s character, while Hudson is a more befuddled and expressionless version of Grant’s exasperated character.

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Review of ROMAN HOLIDAY (1953) (Blu-ray)

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Grade: A
Romantic comedy
Not rated (would be PG)

Audrey Hepburn’s appeal was that she somehow managed to convey both innocence and sophistication—a girl-next-door who was oddly glamorous at the same time. Two films showcased that exquisite balancing act best: Sabrina (1954) and Roman Holiday (1953). Thanks to Paramount, which recently released the latter on Blu-ray for the first time, a new generation of movie-lovers can appreciate the performance that earned Hepburn her only Best Actress Academy Award.

Hepburn plays royalty in Roman Holiday, but there are other Hollywood “royalty” involved as well. Three-time Best Director Oscar-winner William Wyler (Mrs. Miniver, The Best Years of Our Lives, Ben-Hur) is behind the camera. Dalton Trumbo, the most (in)famous of the McCarthy-era blacklisted Hollywood 10, was responsible for the story and co-wrote the screenplay. Though uncredited, Trumbo won an Oscar for Best Writing, Motion Picture Story, and legendary costume designer Edith Head added another Oscar to her own mantle for her work on Roman Holiday. And while Gregory Peck wouldn’t win his Best Actor Oscar (To Kill a Mockingbird) for another 10 years, he plays off Hepburn memorably in this very different kind of romantic comedy.

If Roman Holiday were described as a high-concept film during an elevator pitch, it could best be summed up as It Happened One Night meets The Prince and the Pauper in Rome.

Hepburn plays Princess Ann, heir to the throne of a fictional European nation who’s wrapping up a tour with a visit to Rome. Absolutely fatigued and on the brink of a nervous breakdown, she yearns to be common, to live an ordinary life, to get away from all the obligations that accompany being a princess. So what does she do? There’s no one to trade places with, but she sneaks out anyway and goes AWOL for 24 hours. The complication: the doctor had just given her a shot to “calm her down,” and it makes her incredibly sleepy and gives her the appearance of being intoxicated.

Like Clark Gable’s newsman in It Happened One Night, Peck plays a journalist who stumbles onto a runaway “royal,” and like Gable’s newsman, once he realizes her identity, he schemes to write and sell an exclusive “personal” story, all the while being careful not to let her out of his sight . . . or to reveal his ulterior motive. Eddie Albert, of TV’s Green Acres fame, plays Joe’s best friend, a photographer named Irving, and together they attempt to document this escaped princess on her carefree one-day Roman holiday. More

Review of THE LADY EVE (Criterion) (Blu-ray)

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Grade: B+
Romantic Comedy
Not rated (would be PG-13)

When BBC Culture unveiled their list of 100 greatest comedies of all time, screwball comedies fared pretty well. Topping the list was Some Like It Hot, the Billy wilder comedy produced more than a decade after the subgenre’s hey-day. But Howard Hawks’ His Girl Friday and Bringing Up Baby turned up at #14 and #17, and closely behind them at #19 was Preston Sturges’ The Lady Eve—a 1941 screwball comedy just released on Blu-ray by Criterion.

It’s an enjoyable film, but not one that I would rate so far ahead of It Happened One Night (#28 on the BBC-Culture list) or even The Philadelphia Story (#38). The film rolls along at a brisk pace for the first two-thirds. Lady Eve is the serpent in this farce about a card sharp (Barbara Stanwyck) aboard a cruise ship who sets her sights on a well-known ale heir (Henry Fonda) who just happens to be a snake researcher. But then a third-act dinner party scene goes on too long, a lost snake is all but forgotten, and Lady Eve bounces back and forth between love and revenge so abruptly you’d swear she was under a spell. Then, just as abruptly, the film rushes to an ending with a last line clever enough to rival the most famous last line in cinema (“Nobody’s perfect,” from #1 comedy Some Like It Hot).

Screwball comedies are typically farces revolving around a courtship, pursuit by a member of the opposite sex, or divorced couples still playing games with each other. Film noir has its femme fatale, but the screwball comedy version is more benign, causing the male levels of distress but nothing that can’t be overcome by the end of the film. Screwball comedies are also characterized by clever, fast-paced and often overlapping dialogue, and more often than not they include implied social commentary involving the classes (rich vs. middle class). Some films, like His Girl Friday and Bringing Up Baby, are fast-paced enough and with a plot gimmick (escaped convict, escaped leopard) that make them best suited for family viewing. Others, like The Lady Eve, are driven by a spider/fly plot and a screwball femme fatale that make it still fun but a little more sophisticated. More

Review of PLUS ONE (Blu-ray)

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Grade: B-
Entire family: No–parents only!
2019, 99 min., Color
Comedy-drama romance
RLJE Films
Not rated (would be R for drinking, drunkenness, drugs, language, and implied sex)
Aspect ratio: 2.35:1 widescreen
Featured audio: DTS-HDMA 5.1
Bonus features: D
Trailer
Amazon link

This one is for parents only—parents who are fans of romantic comedies but also like to show a little love for indie filmmaking. For best results, save Plus One for a night after the kids have been a real handful and you’re both exhausted and secretly thinking back to how carefree everything was before the first bundle of joy arrived, or even before you got married. Watching Plus One will make you appreciate every last difficult minute you spend with your family.

If this film has an underlying social message, it’s that being single sucks, so single parents be warned. More cautionary tale than standard romantic comedy, Plus One is nonetheless totally aware of the romantic comedy conventions: boy has a meet-cute with girl, they fall in love, they lose each other and realize what they lost, and they get together again, just in time for the happy ending. Because of that genre self-awareness, you know pretty much where this film is headed, without even looking much farther than the premise: Ben (Jack Quaid, who looks a bit like Joel McHale with a beard) and his loud, force-of-nature college friend Alice (Maya Erskine, PEN15), find themselves with 10 weddings to attend over the summer—some his, some hers. To get through them, Alice gets Ben to agree to be each other’s “plus one” to avoid sitting at the singles table (a.k.a. the kids table). So yeah, you fully expect them to get together. More

Review of ISN’T IT ROMANTIC (Blu-ray)

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Grade: C-
Entire family: No
2019, 89 min., Color
Romantic Comedy-Fantasy
Rated PG-13 for Language, some sexual material, and a brief drug reference
Warner Bros.
Aspect ratio: 2.40:1 widescreen
Featured audio: DTS-HDMA 5.1
Bonus features: C
Trailer
Amazon link

Isn’t It Romantic?

Uh, not really, I’m sorry to say.

This 2019 film from Todd Strauss-Schulson (A Very Harold & Kumar 3D Christmas) seems to want to satirize romantic comedies while also following the formula and hoping audiences will walk away feeling warm and fuzzy about the possibility of romance for everyone—whether they’re “beautiful people” or not. As admirable as that message may be, it’s tough to have it both ways, and the film falls flat as satire and also disappoints as a romantic comedy.

“Flat” is really the operative word here. For most of the 89-minute runtime, Isn’t It Romantic has zero energy—flat as a half-bottle of beer that’s been left out overnight. Actors seem to be just going through the motions. One big problem is the script by Erin Cardillo, Dana Fox, and Katie Silberman. It’s just plain dull, and limp lines contribute to the overall flatness. Too often, gags go on unmercifully long. We don’t, for example, get a lot of laughs, insight or plot exposition as Natalie (Rebel Wilson) goes on and on about why she hates the rom-com formula in a montage that we’re guessing is supposed to be funny. As for the gimmick the writers employ to give Natalie a conk on the head and put her smack dab in the middle of a romantic comedy, the film is frankly more fun and interesting without it. And unfortunately, that gimmick occupies the bulk of the film. More

Review of CRAZY RICH ASIANS (Blu-ray combo)

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Grade: B+
Entire family: Almost (10 and older?)
2018, 120 min., Color
Romantic comedy
Warner Bros.
Rated PG-13 for some suggestive content and language
Aspect ratio: 2.40:1
Featured audio: DTS-HDMA 5.1
Bonus features: C
Includes: Blu-ray, DVD, Digital Code
Trailer
Amazon link

Crazy Rich Asians is a rom-com that’s heavy on the rom and lighter on the com. There are plenty of amusing moments, mind you, but this 2018 film by Jon M. Chu has more in common with splendiferous romances like Pride and Prejudice than it does the old Doris Day-Rock Hudson romantic comedies that depended mostly on farcical misunderstandings and mistaken identities. The plot is pretty straightforward: it’s a variation on the old meet-the-parents theme, with a couple’s future on the line.

Based on the international best-selling novel by Kevin Kwan, Crazy Rich Asians features Fresh off the Boat’s Constance Wu as Rachel Chu, the serious girlfriend of Nick Young (Henry Golding) who flies to Singapore to be his plus-one for his country’s wedding of the century. When they fly in an airline suite, she learns for the first time just how rich Nick’s family is, and that’s the main complicating factor. She may be an American success story—the daughter of a hardworking single mom who made Mom proud by becoming an economics professor—but in Singapore she has two strikes against her: she’s comparatively poor, and she’s Chinese American rather than Chinese. Nick’s family, meanwhile, is like the Singapore version of the Kennedys—old money who built Singapore and who now draw paparazzi to them as if they were royalty.

As the tagline says, “The only thing crazier than love is family,” and the humor derives more from characters and their mannerisms and quips than from situations. Awkwafina is pretty hilarious as Rachel’s old college roommate who is unabashedly flamboyant and lives with her mother in a Singapore mansion, while Nico Santos is equally funny as a gay friend of the Young family. Ken Jeong makes an appearance as Rachel’s old roommate’s wealthy father, but he isn’t given nearly as much screen time as the younger generation. More

Review of FATHER GOOSE (Olive Signature Blu-ray)

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Grade: A-
Entire family: Yes
1964, 118 min., Color
Romantic comedy/Adventure
Olive Films
Not rated (would be PG for some peril and adult drinking)
Aspect ratio: anamorphic widescreen (16×9)
Featured audio: DTS-HDMA Mono
Bonus features: C+
Clip
Amazon link

As I wrote when Olive released a no-frills Blu-ray of this title in 2014, Father Goose is one of those rare films that appeals not only to lovers of the genre—in this case, romantic comedy—but others as well. There’s humor and WWII adventure in this amiable 1964 film, which will make it appealing to boys in the family. The girls, meanwhile, will be won over by the seven schoolgirls of varying ages that are rescued by a reluctant (and still very funny and attractive in his second-to-last film) Cary Grant. Much of the humor is based on the contrast between Grant’s scruffy character and “proper” behavior, with the girls as engaging as any child actors I’ve seen.

Grant plays teacher-turned-beachcomber Walter Eckland, who dropped out of the world and in return just wants the world to leave him alone. Though war in the Pacific is raging all around him, he’s determined to be neutral and uninvolved. We first meet him when he turns up at British-Australian naval base that’s under fire, and, bothered more by a pelican that keeps hitching a ride on the boat he recently bought than by shells exploding all around him, he proceeds to try to “borrow” cans of gasoline and rations.

That plays right into the hands of the dockmaster, an old friend named Houghton (Trevor Howard) who’s been ordered to evacuate and set up shop coordinating more than 30 coast watchers spread across the Pacific islands. He needs one more coast watcher and Walter needs supplies, so they strike a deal . . . which Walter had no intention of abiding by, until Houghton “accidentally” rams his boat and forces him to make for the island. Then, to get Walter to actually report Japanese airplane and ship movements, Houghton hides bottles of scotch whiskey and gives Walter the directions to a bottle for every confirmed sighting.

Walter never gets drunk, and his drinking is played for laughs, so most parents won’t find it objectionable. After all, there is a war on, and when Walter ends up rescuing a pretty young teacher (Leslie Caron) and her charges, she immediately sets about trying to reform him. He may be gruff, but he’s still a likable fellow that the girls find as appealing as their teacher does. Sparks eventually fly, and the action intensifies, and in no time at all you’re rooting for this pair of opposites to come together in spite of all that’s happening in the world around them.

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Review of FRANKIE AND JOHNNY (1966) (Blu-ray)

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Grade: C/C+
Entire family: No
1966, 87 min., Color
Musical romantic comedy
Not rated: Would be PG-13 (for smoking, drinking, drunkenness, fighting, and suggestive scenes)
Kino Lorber
Aspect ratio: 1.66:1
Featured audio: DTS-HDMA 2.0
Bonus features: n/a
“Frankie and Johnny” clip
Amazon link

Three Elvis Presley movies were released in 1966—two of them contemporary (Paradise, Hawaiian Style and Spinout) and one of them, Elvis’s 20th film, a costumed period musical in which Elvis plays a riverboat entertainer and inveterate gambler.

Though there are “11 great songs” advertised for Frankie and Johnny, only two of them are true Elvis tunes where The King actually gets into it: “Shout It Out,” a typical nightclub performance number that gets him smiling, clapping, and gyrating with the Jordanaires backing him up, and “Hard Luck,” a blues he sings accompanied by a shoeshine boy on harmonica. The rest are hokey period or vaudeville-style numbers that make Presley look straitjacketed and uninterested. In fact, the 1890s costumes in this musical make him look so uncomfortable that you can tell he’s feeling out of his element.

So are we. It’s not your typical Elvis movie. If it seems plot-starved (and it does), that’s because it’s basically an expansion of the popular story song “Frankie and Johnny,” which appeared in various forms from the late 1890s through 1912. As the song goes, Frankie and Johnny were lovers, but when Frankie caught Johnny two-timing her and “doing her wrong,” she shot him with her .44.

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Review of CLAMBAKE (Blu-ray)

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Grade: B-
Entire family: Yes
1967, 99 min., Color
Musical comedy-romance
Not rated: Would be PG (for smoking, drinking, and some suggestive scenes)
Kino Lorber
Aspect ratio: 2.35:1 widescreen
Featured audio: DTS-HDMA 2.0
Bonus features: B- (an audio commentary from Videodrome video rental store)
“Clambake” clip
Amazon link

It started with Jailhouse Rock (1957), the film that established the Elvis film character as a brooding James Dean, often with a chip on his shoulder, but with a good guy hiding under the facade. That character would appear with only minor alterations in most of his 23 films made between 1962 and 1969. By comparison, during that same period John Wayne made 17 films. Both were box-office giants.

Many of the films from this period are “a-go-go” films, and if you’re a fan of the Zucker-Abrahams-Zucker spoof Top Secret! you’ll see in the formula Elvis movies what they were making fun of. Today’s families will find these lightweight musical comedy-romances fun to watch, but also fun to make fun of. Some of the dancing, some of the clothes, some of the antics are just plain hilarious now, though they were intended, like the Frankie Avalon and Annette Funicello “beach” movies, to be campy and fun even back then. They feature plenty of mod and mini-skirted and bikinied women and goofy guys doing the swim, the frug, the monkey, the jerk, and all those dances that were so cool then but look so silly now. What will seem even sillier to modern audiences are the backgrounds that were clumsily and unapologetically used (like the mountains in the background of this film set in Miami), or the far-fetched ways in which the writers sought to bring Elvis in contact with children.

Yes, children. You see, the Elvis film persona was meant to be everything to women: a bad boy, a nice guy, a singing romantic, a tough guy when he had to be, a clean-living guy who usually refrained from alcohol and tobacco, and a good-looking guy who was so good with kids that women saw him as father material. Despite the attitude, Elvis was the kind of guy you could bring home to meet Mom and Dad.

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