Phone Booth from 2002

Hey, just curious…do I ever get to retire? Trust me, I feel blessed to be working 33 hours this week, BUT just when I thought I was on easy street, working part-time and having fun dog sitting, here comes Covid-19 to screw up the works. At least my gravestone will say “She Worked It!”

Last night I took in a somewhat iconic film I had missed due to my son being 9 years old in 2002, and since I was having so much fun as a mom and home owner, I didn’t give a fig about movies back then.

Phone Booth was directed by Joel Shcumacher (written by Larry Cohen) starring Colin Farrel with Forrest Whitaker, Katie Homes (man did she look like a teenager (she was 23) with annoying baby voice) and Radha Mitchell. Oh yeh and Kiefer Sutherland’s voice (eye roll).

First, the good news; the movie is short and tightly written. The acting is top notch, especially Colin Ferrel (can we give him an Oscar soon? Killing of the Sacred Dear was amazing and of course In Bruges was terrific as well). The minor characters were also beleiveable.

The plot though, I’m sorry to say, is cheesey. Kiefer’s voice sounded much too Messiah-like and unreal. I kept thinking (since I didn’t allow myself to read about it ahead a time) the voice was actually Kevin Spacey (since he is the biggest Hollywood creep of all time-next to Weinstein).

The ending, too, just seemed cheap. I don’t think this held up over time, but I’m open to comments if someone wants to convince me of something more profound.

Killing of a Sacred Deer, Communal Grousing Fun

Immediately following (and actually many times during) my friend Tim and I derisively mocked the film Killing of a Sacred Deer. “Implausible”, “Who cares about these non-emotional people?”, “No mother is ever going to say (with the exception in this silly classic horror film trope), ‘Don’t involve the cops'”.

But there I was the following day in Ft. Myers, defending the film. “Wasn’t it fun to mock?” “Isn’t it a film we won’t forget?” “Did it not hold our suspense?” Hence, I suggest renting it when you really need a distraction from reality.

What was well done, besides the aforementioned suspense? Well, the actors were top notch: you can’t get much bigger or better than Nicole Kidman and Colin Farrell for Pete’s sakes. And if they can be monotone for the entire script (with one or two scenes of rare exception) then doggone it, we gotta hand it to them for consistency.

And if some deranged parents convinced their children to act in such bizzaro roles and they’re not scarred (or scared) for life, well, then you’ve got some good family therapists.

Probably who stole the show was Barry Keoghan who from my research had a pretty bizarre upbringing of his own (mother deceased, IMDB implying drug or alcohol abuse) raised by a tough Grandma. Perhaps he has a second career opportunity in figure skating (that’s a bad Tonya Harding joke). Barry was also in Dunkirk which I did not see, unable to do a war movie, since Saving Private Ryan pretty much did me in. But this guy’s going places, hopefully at least out of Grandma’s house.

Of the three Yorgo Lanthimos (writer/director) films I’ve seen, I’d say Dogtooth was my favorite, this one second, followed very closely by The Lobster. And due to the beauty of IMDB, I am now in search of one more Yorgo film I have not seen, Alps. Get it at Redbox and live a little.

Why the lobster screams: The Lobster

I pulled an Anomalisa with The Lobster, expectations being through the ceiling. I mean John C. Reilly in a bitter satire about couples and the single shaming that occasionally happens to me? I hadn’t heard ‘smug marrieds’ since the original Bridget Jones Diary book (the movies look like schlock) and I was ready for action and laughs.

But oh Yorgus Lanthimos, is it your name that makes you so damn sad? As lonely as I am some days, I’m never The Lobster lonely! Maybe I’m misremembering Dogtooth, maybe that was equally dismal, yet I gave you a pass because I was with a person who’s company I enjoyed. Or maybe because Dogtooth was so different than any other movie I had seen. Certainly there must be a story in your past about being hit in the nose with blunt force (NOT a spoiler, trust me).

But on the positive side, the actors were all amazing. Colin Farrel, who normally plays a tough Irish lad (except for the mermaid movie which I didn’t think i could take), actually played a pudgy, rejected fragile man. Rachel Weisz also was virtually unrecognizable (a poor mans Julianna Marguelis-spelling to be checked later) as Colin’s last attempt at love. And John C Reilly, he might be the most lovable actor of all time. Yo just want to give the guy a hug and make him feel better. He’s the guy in the movie we feel the most empathy for, whether it be Magnolia or Step Brothers.

The movie had the right idea, coincidentally the same idea I had in a ten minute play two man play I wrote called “Matt Ramoney”, but my play didn’t send anyone of the 25 people who watched it in to a deep depression. Goodness Yorgus, lighten up. Though I now know why the lobster screams!