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Bernie and Mikey’s Trip to the Moon
Written by Scott Aiello; directed by Claire Karpen
Performances through December 2, 2018
Scott Aiello’s well-intentioned but mawkish Bernie and Mikey’s Trip to the Moon is set in the 1990s, something only gleaned from incidentals like someone wearing a Guns’n’Roses T-shirt. With his dialogue—aside from many F-words—setting and characters harking back to ‘50s sitcoms like Ozzie and Harriet and The Honeymooners, Aiello strings ginned-up crises together, with very little of it explored in any depth.
The working-class Vincolo family lives in a suburban Chicago neighborhood. Mike Sr. is a bar owner, wife Gladys a stay-at-home mom, and Mikey the mid-20ish son working in the local fast-food dive while pining for his lovely co-worker Laura, whose boyfriend inconveniently also works there. Then there’s Bernie, Mikey’s early-20ish sister whose near-fatal case of encephalitis as a toddler left her with brain damage, and the fallout is something everyone must deal with.
Aiello shows a close family chained to the beloved but difficult Bertie, making their lives progressively more challenging. But he never does much with that interesting dilemma aside from desperate attempts at comedy—Dad’s partner at the bar, Ski, is leaden comic relief, as is the running gag of phone calls from Jeff Goldblum (that’s really the name Aiello chose), an autistic young man who has a crush on Bernie—and near-tragedy, when Bernie disappears from K-Mart.
It’s all too neatly, and melodramatically, resolved at the end, and while the old-fashioned writing might steer clear of true bathos, it prevents the play from digging too deeply into these lives.
Like the script, Claire Karpen’s straightforward staging relies too heavily on Elvis songs—Bernie loves the singer—which also hampers Forrest Malloy’s otherwise likeable Mikey, who has to do a bad Elvis impression that’s reprised in an overlong diversion when he “speaks” to Bernie through his rolls of stomach flab. Malloy does have a nice rapport with both Ismenia Mendes—who does far more with the underwritten Laura than anyone would have thought possible—and Stephanie Gould (who herself has cerebral palsy), whose Bernie plausibly alternates between stubbornness and docility.
Too bad Margo Singaliese (Mom), Jordan Lage (Dad) and Stephen D’Ambrose (Ski) are hampered by the caricatures they’re playing. At least Aiello’s heart is in the right place.
59E59 Theaters, 59 East 59th Street, New York, NY
Director: Sean Anders
Cast: Mark Wahlberg, Rose Byrne, Isabela Moner, Margo Martindale, Julie Hagerty, Tig Notaro, Octavia Spencer
Okay, so it’s heart-warming and brings us to tears. And yes, director Sean Anders’ “Instant Family” has three insufferably cute kids, a fluffy dog and enough irate friends and neighbors to make this the right seasonal comedy. As it turns out, it should be. Mark Wahlberg’s latest star vehicle is much more than a dopey gross-out comedy or balls-out action thriller (with guns blazing and big biceps bulging…) and thank goodness for it.
This isn’t a simple, joyful holiday laugh fest or celebration — it grapples with a deadly serious, life-challenging issue — kids in foster care, those orphaned children who are treated like real Garbage Pail Kids. Sadly, many more children are being orphaned globally through war, family disruption and environmental catastrophes. Although the United States has a fairly robust system for coping with these lost children, it’s far from perfect and is riddled with flaws state by state. “Instant Family” addresses this without being preachy or somber but through humor, an honesty, and candor, it truly can raise society’s awareness of this matter.
Based in part on Anders' own experiences adopting three children with wife Brenda, this movie marks his third collaboration with Wahlberg, following “Daddy's Home” and its 2017 sequel. It’s also the second film the actor made with Isabela Moner after “Transformers: The Last Knight.”
In this tale, a drug-addicted mother (currently in jail having set their home on fire because she left out a lit crack pipe) lurks in the background. Meanwhile her 15-year-old daughter Lizzy (Moner) and two younger siblings — Juan (Gustavo Quiroz) and Lita (Julianna Gamiz) — struggle to cope in foster care.
Enter Pete (Wahlberg) and Ellie (Rose Byrne) Wagner who decide to fill the void in their lives by having children. For unclear reasons, they turn to adoption (rather than natural birth) and visit a foster care center where two social workers, Karen and Sharon (Tig Notaro and Octavia Spencer) guide the prospective parents into becoming adoptive ones. Of course, the couple falls for the younger kids but realizes they should take the less desirable teen into their home as well.
From there, the laughs and tears ensue, as this incredibly naive couple cope with a very difficult process made even more complicated by tripling the situation. Every possible trauma comes to the fore from eating issues to a pervy adult preying on their new teen daughter. These challenges include sessions with other adoptive parents, school acclimation, grandparent rivalries and everything else one can imagine that conventional parents deal with — all compressed into a six-month trial period before qualifying to be adoptive parents.
“Instant Family” is comedy first and issue-driven drama second, but it effectively strikes such a balance that it rises to significance of the issues it addresses. It creates a significant awareness of such concerns as PTSD, feelings of abandonment and identity challenges.
Though the movie ends up being a feel-good experience, we should all feel bad that the problem of parentless children persists and that some of us prefer to remain unaware of it. As the film expands its circulation, hopefully its audiences will confront the issues it raises -- reaching out to support such organizations as Hopeland (http://ourhopeland.org) and Adoption-Share (http://adoption-share.com) for more information.
Blu-rays of the Week
Some Like It Hot
Still one of the funniest movies ever made, Billy Wilder’s 1960 classic might now run afoul of those who find it sexist and condescending, but it remains a breathless comic romp, with Tony Curtis, Jack Lemmon, Marilyn Monroe and Joe E. Brown giving best-ever performances in a drag comedy that has one of the all-time great final lines of dialogue.
The brand-new hi-def restoration looks magnificent; extras are a 1989 commentary by film scholar Howard Suber; new featurette on Orry-Kelly's costumes; three making-of documentaries; 1982 Dick Cavett Show appearance by Wilder; 2001 Curtis conversations; and a 1988 French TV interview with Lemmon.
For this strangely inert drama about an American soprano in a deadly hostage situation at the South American mansion where she is performing, Julianne Moore seems out of her element, giving a technically accomplished but chilly performance (even her lip-syncing to Renee Fleming’s glorious singing seems off).
Director Paul Weitz also appears out of his comfort zone, with many dramatic moments missing their targets; he’s resigned to melodramatic clichés in the relationships that develop during the stand-off. Too bad that excellent German actor, Sebastian Koch, is also wasted. The film looks quite good on Blu; extras are short featurettes.
Crackdown Big City Blues
(The Film Detective)
It perilously skirts Ed Wood territory at times, but it’s also what’s actually watchable about this 1991 time-capsule docudrama about a local community battling drug dealers on their own turf.
Director/writer Paul DeSilva and producer/writer Frazier Prince’s cautionary tale has perfectly wooden acting throughout, but set during the NYC crack epidemic it manages to make its case persuasively. The film looks decent enough on Blu-ray; extras are a vintage featurette and interviews with Prince and sound man Jim Markovic.
Argentine writer-director Gonzalo Calzada’s crazy idea is surreal, bloody and legitimately creepy: mix together a novice nun, evil spirits, pregnancy and sex and you have a bizarrely compelling watch that culminates with what may be the first successful sexorcism sequence in movie history.
And kudos to actress Sofía Del Tuffo for giving it her all—especially physically—as the young woman who fights back against the devil by having sex with him on the altar in a scene that must be seen to be believed. There’s a first-rate hi-def transfer.
The Satanic Rites of Dracula
Tarzan’s Greatest Adventure
In 1973’s Satanic Rites of Dracula, Christopher Lee’s undead Count and Peter Cushing’s stake-wielding Van Helsing meet again in contemporary London for another ho-hum showdown courtesy of director Alan Gibson.
1959’s Tarzan’s Greatest Adventure is anything but: this lazy programmer pits Gordon Scott’s brawny but brainy Tarzan against villains Anthony Quayle and a young Sean Connery. John Guillermin’s direction is slickly competent, but the climactic cliff fight is sheer hokum. Both films have excellent hi-def transfers with fully-realized grain and color.
Written by Harvey Fierstein; directed by Moises Kaufman
Performances through February 24, 2019
Mercedes Ruehl and Michael Urie in Torch Song (photo: Joan Marcus)
It’s rare to see a Broadway show as bighearted, sentimental, funny and heartbreaking as Harvey Fierstein’s Torch Song. At its 1982 premiere, it was a four-hour behemoth titled Torch Song Trilogy, earning raves and two Tony awards for its author/lead actor, who played Arnold Beckoff, the lovably cranky drag performer at its center. Now shortened by an hour and losing a word from its title, it might be even more affecting with some meat trimmed off its bones.
The probing Torch Song, which dramatizes Arnold’s successful onstage work as Virginia Hamm and his unsuccessful offstage life comprising fraught relationships with his bisexual ex, adopted teenage son and homophobic but protective mom, is set in the pre-AIDS era. Arnold’s lover Alan has been killed in a hate crime, beaten to death outside their apartment, a subtle reminder of the horrors gay men faced while trying to live their lives. Fierstein’s trimmed version and Moises Kaufman’s staging keep Arnold’s disparate relationships—with his mother; with Ed, who left him to marry a woman, but who returns when she throws him out; and with his adopted (and gay) son David—front and center.
Arnold, who is presented with naked honesty, is annoying without becoming wearying, a difficult tightrope walk which Michael Urie accomplishes with exceptional skill, his deadpan looks after spitting out a lethal line or campy reactions after a deadpan reading allowing him to make Arnold sympathetic by showing him in his entirety: as performer and lover, father and son, joker and mourner.
The same goes for Mercedes Ruehl in the (admittedly) scene-stealing part of Arnold’s mother. Although Ruehl is an old hand at the killer pause, double take or exasperated retort, her Jewish mother who can’t understand why her son is gay is anything but clichéd. This delectable mother-son rapport has genuine—if occasionally uncomfortable—feeling.
The rest of the cast—Michael Hsu Rosen (Alan), Jack DiFalco (David), Ward Horton (Ed) and Roxanna Hope Radja (Lauren, Ed’s wife)—remains a step behind only because Urie and Ruehl are on such a rarefied plane. But everybody does justice to a humane work of art that has only deepened with age.
Helen Hayes Theater, 240 West 44th Street, New York, NY
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