Barry Munday (2010)
★★ / ★★★★
Barry Munday (Patrick Wilson), despite his pudgy frame, was a womanizer. He exuded confidence which charmed some but repulsed others. When an underaged girl (Mae Whitman) lured Barry in a movie theater, her father, with a trumpet in hand, walked in on them and hit Barry in the groin. Doctors at the hospital informed him that there was nothing they could do to save his testicles so the boys were going to have to be removed. A couple of days later, to Barry’s surprise, he found out that he had impregnated a woman named Ginger (Judy Greer), the ugly duckling of a well-to-do family (Malcom McDowell, Cybill Shepherd). Based on a novel by Frank Turner Hollon, “Barry Munday” was amusing only half of the time because the director, Chris D’Arienzo, ended his scenes just when the punchline was delivered. For instance, when Barry met Ginger for the “first” time (he couldn’t remember their sexual encounter), the two shared awkwardness, which was mildly funny, but they were left with only references of the night in question. Ginger pointed at the area where they had done the deed and the specific song that played in the background but there was not one memorable joke that incited laughter. I felt as though the film could have played upon Barry’s vanity when he met Ginger. He obviously thought she was ugly so why not overtly play upon the fact that maybe he didn’t feel like she was good enough for him? Yes, the main character would have come off as mean-spirited but it would only highlight the journey he had chosen for himself. The filmmakers’ decision to not take on certain risks lowered the movie’s level of comedy and it missed potential character arcs. I enjoyed Chloë Sevigny as as Ginger’s sister, the favorite of the family. She wasn’t afraid to acknowledge her sexual needs. What I expected to see was her character being used to create a divide between Barry and Ginger. After all, there was a jealousy between the sisters. But I was glad it didn’t take that route. I believed Barry’s change toward becoming a better man because his evolution was mostly two steps forward and one step back. It took some time for him to decide to take real responsibility. However, what I didn’t find as effective was Barry suddenly wanting to know about his father who left before he was born. It offered an explanation involving why Barry turned out to be a womanizer when it didn’t need to. Most men just can’t help but want the idea of being with other women. And that’s okay. Anyone who had taken a psychology course could surmise what the film was trying to say. It implied that his father’s absenceled to his desperate assertion, through being with a lot of women, that he was a man. It was unnecessary because I felt as though Barry’s journey was already complete. He may still not be the kind of guy one would take home to meet the parents, but he was likable enough. We knew he eventually meant well.
Everybody’s Fine (2009)
★★ / ★★★★
Despite his doctor’s recommendation against traveling, Frank (Robert De Niro) decided to go on a road trip across America when his thirtysomething children (Kate Beckinsale, Sam Rockwell, Drew Barrymore) made last-minute cancellations to come visit over the holidays. Frank wanted to reconnect with his kids due to the recent death of his wife. Also, he felt lonely being by himself at home. “Everybody’s Fine” had an interesting premise but it ultimately left me wanting more. Since Frank’s children had vastly different personalities and temperaments, I thought that each visit would reflect a change of tone. Unfortunately, it remained mind-numbingly one-note. It was depressing because the kids didn’t want to have anything to do with their father which were reflected in their phone conversations when Frank was on the train, the bus, and the plane. Although he was somewhat welcomed with smiles and hugs, the emotions felt fake because we knew what they really thought about the surprise visit. It was like watching a guide called “How Not to Treat Your Parents When They Get Old and You Have Your Own Life.” It would have been refreshing if two of them didn’t want him over but at least one genuinely did without question. One visit could have been strange, the other really funny, and the last quite cantankerous. Big shifts in tone could have signified that the material wasn’t afraid to take risks. So what if everything doesn’t quite fit together? Just keep the audiences interested. There were some mildly comedic scenes like when Frank was portrayed as being out of touch with recent technology and his unawareness that the heavy bag he’d been carrying had a handle and wheels which could have made his life easier. There were also some touching scenes such as when we finally realized that there were some truth in Frank’s high expectations of his children and why they felt distant toward him for years. Nevertheless, I still disagreed with the way they treated their father as if he was a child. Protecting someone doesn’t always equal keeping them in the dark especially when the person had a right to know what was happening. The writing could have used some work. The scene I found most awkward and uncomfortable to sit through was the fantasy scene involving Frank sharing a meal with his children, played by actual kids, and secrets were revealed. Some of the divulged information could be surmised from Frank’s visit but some were simply out of nowhere. That scene felt cheesy, forced, and it diminished the little dramatic pull it had going for it. Written and directed by Kirk Jones, “Everybody’s Fine” had a great cast, with some effective acting from De Niro, but it made far too many missteps because of a weak script. I couldn’t help but feel disconnected during the more serious revelations.