KUSP Film Review



Listen to the review by Dennis Morton, and read transcript below.


I gave my television away over twenty years ago, so I’m a few decades behind  when it comes to knowing who today’s TV stars are. Which is why I’d never heard of Amy Schumer, until I saw Trainwreck. I’m so glad I did.

Schumer not only stars in Trainwreck – she also wrote the script. The first time I watched it, the theatre was packed and the laughter was so loud and so frequent that I missed many of the lines. So of course, I had to go back – again, and again.

According to the production notes for the film, much of Trainwreck is based on  Schumer’s actual experiences. She even names the lead character Amy. Amy, the character, has been leading a life of sexual abandon. She’s followed her impulses and scrupulously avoided lasting commitments. By day she’s a writer for a sleazy men’s magazine. By night, she’s a bed-hopping libertine.

She seems to be following the advice of her father, who, as the film opens, delivers a homily on the virtue of promiscuity to his two small daughters. It’s outrageously funny. The gist of it, theoretically a rationale for his impending divorce  from their mother is: monogamy isn’t realistic. It becomes gospel for Amy. But not so for Amy’s sister, who evolves into an angry apostate.

Immediately after their dad concludes his address, the film shoots 23 years into the future – which is present day New York City. Director Judd Apatow introduces us to a few samples of Amy’s legion of sexual partners. One of them is a muscle bound gym hound with thinly repressed homosexual urges. Amy seems not to notice. She abandons ship when Mr. Muscles tells her that his dream is to marry her and have five sons.

Some of the best moments in the film occur at the offices of the magazine. The editor is played by the great Tilda Swinton, so ‘made up’ she’s hardly recognizable. She has an ice cube for a heart and she’s all business. At one of the pitch sessions, where staff writers toss story ideas at the editor, Amy ends up with an assignment to interview a sports doctor, a fellow who’s developed a way to repair broken knees. Among his clients are more than a few big names in the sporting world. The biggest name is LeBron James, who portrays himself in the film.

We quickly realize that the doc and LeBron have become close friends. LeBron has taken an almost paternal interest in the doc’s social life, or more accurately, his absence of one. So, when something begins to sizzle between Amy and the doc, who is played wonderfully by Bill Hader, LeBron is not shy about encouraging the incipient I have the suspicion that it might be difficult to play yourself in a movie. How do you get out of your skin and back into it simultaneously? At any rate, LeBron James does a great job of it. He’s clearly very funny.

Trainwreck is not so much about a wreck as it is about retraining oneself. The ride can get rocky, but the journey is worth the risk. Trainwreck is often hilarious, sometimes sad, and always engaging.

Love and Mercy


Listen above to the review by David H. Anthony. (Transcript posted below.)

Bill Pohlad’s Love and Mercy: The Life, Love and Genius of Brian Wilson probes links binding creative impulses and emotional trauma the Beach Boys’ gifted leader faced.

By now, many will have heard the film’s outlines. It innovatively uses actors Jeff Holman as Brian Wilson present and Paul Dano and John Cusack to depict Wilson at strikingly separate stages of adult life, past (60s) and future (80s), respectively. This may bring to mind far more complex multifold portrayals of Bob Dylan in He’s Not There.

Love and Mercy is distinct from other biopics seeking to reconstruct vivid scenarios illustrating poignant parts of the life of a tortured artist, first, because Wilson, still quite alive, called the film “very factual.” Thus it is his story in more than one way.

This may seem simple but it actually matters a great deal. Tragic tropes like neglect and abuse must be factored into the tale but so too should the protagonist’s survival.

That detail alone lends this work a rare degree of contemporaneity with its subject. However horrific the treatment meted out to the main character, he clearly endured.

Love and Mercy also addresses questions of what forms artistic inspiration might assume and the high cost of imaginative and innovative gifts. Wilson evinces agony in the act of composing. It might be as excruciating an ordeal to experience mentally while creating as can it be exhilarating in its outcome, that is, if success is achieved. Indeed often more emphasis is placed upon the price of the process than its result. Consequently, lovers of Wilson’s work may feel shortchanged in the amount heard.

At the same time, learning what it took out of him to construct it increases its value.

Also noteworthy are Elizabeth Banks as Melinda Ledbetter, Paul Giamatti as über manipulative Dr. Eugene Landy and Bill Camp as Murry Wilson, Brian’s callous dad.

Adding up the pain he felt within his brain and beyond, in the fetters with which he was shackled, it is remarkable Wilson was able to manifest anything he heard inside.

What are we to make of such an excursion into the darkest corners of consciousness and worse, the systematic denial of light by those who elected to deprive Brian of it?

There are no facile replies to those queries. To these eyes, Love and Mercy demonstrated the tenacity of a human spirit to not only withstand the evil excesses of uncaring and cruel captivity, literally and figuratively, but to prevail, passionately and persistently producing art in a manner dictated by the irrepressible imagination of the artist.

That would make Love and Mercy worth donating two hours of a viewer’s existence.

To Kill a Mockingbird


Listen to Dennis Morton’s review above. Transcript of the review is posted below.

The odds are that most of you in the KUSP listening area have seen To Kill A Mockingbird, the film adaptation of Harper Lee’s famous and beloved novel. I must confess that until very recently I had not seen the film. Neither had I read the book. I’m now 50+ pages into the novel, and loving it. And, I borrowed a DVD from the library and have watched the film several times.

Were it not for the publication and imminent release of Harper Lee’s long lost first novel – Go Set A Watchman – it’s likely that I never would have read To Kill A Mockingbird, or gotten around to watching the film. Thank goodness for the belated discovery of Go Set A Watchman.

Read the rest of this entry »

A Little Chaos


Listen to the review by David H. Anthony, above.

Me and Earl and the Dying Girl


Listen above to the review by Dennis Morton (Transcript posted below).


It wasn’t clear to me from the previews what I was in for, and the title suggested the possibility of a few hours of maudlin melodrama, but, Me And Earl And The Dying Girl is not maudlin, and it’s like no melodrama I’ve seen before. I loved this film. I’ve watched it three times and I intend to see it again.

The Me in the title is an insecure high school senior named Greg. Earl is his best friend, and The Dying Girl is Rachel.

The film is structured like a book. Most of the major scenes are titled, as if they were chapters. And the book is a work in progress, penned by Greg. As the film opens, Greg tells us that this is the story of his senior year in high school and that he doesn’t know how to begin or where to start. And then it occurs to him that he’s already begun. And so – off we go.

In the first chapter/scene, Greg, the narrative voice, and Alfonso Gomez-Rejon, the film’s director, illustrate Greg’s strategy for negotiating his way through the myriad cliques that inhabit the halls, classrooms, and cafeteria of his high school. Greg superficially befriends each group in hopes of avoiding the enmity of any.

We soon learn that Greg and Earl, friends since grade school, spend most of their free time making short parodies of classic films. For instance – Mean Streets becomes Grumpy Cul-de-Sacs; Midnight Cowboy becomes 2:48 PM Cowboy; and Apocalypse Now becomes A Box O’ Lips.

But their routine changes when Greg is pressured by his parents into spending much of his free time with Rachel, a classmate who has been diagnosed with leukemia. Greg resists but his parents, especially his mother, insist.

And thus begins a relationship that neither Rachel nor Greg had anticipated. Greg’s wacky sense of humor quickly offsets the awkwardness that each initially feels. And what ensues, thankfully, is not your typical love story.

The script is intelligent, often very funny, sometimes sad, and always magnetic. The performances, especially by the actors who play Greg, Earl, and Rachel, are mesmerizing.

As the school year progresses, word of Rachel’s illness spreads. A classmate suggests that Earl and Greg take a break from spoofing the classics and concentrate on making a film especially for Rachel. They feel compelled to try, though neither of them has any inkling about how to proceed. The effort generates an unaccustomed discord between Earl and Greg.

Greg has grown so used to employing absurdity and humor to defuse challenging situations that he becomes frustrated and angry at his inability to create a ‘real’ film for Rachel. And when he finds out that Earl has informed Rachel of their mission, he becomes furious.

The movie script is true to its progenitor, the eponymous novel, because Jesse Andrews wrote each of them. The entire film is a fabulous balancing act and we are the beneficiaries. Don’t miss Me And Earl And The Dying Girl.



Listen above, to the review by David H. Anthony.




Listen above, to the review by Dennis Morton.


Sunhsine Superman


Listen above, to the review by David H. Anthony


Slow West


Listen above, to the review by Dennis Morton.




Listen above, to the review by David H. Anthony