Rough Night (2017)

Rough Night is a hot, as in sometimes good and funny, mess. Considered by some to be another female-equivalent of The Hangover, Rough Night fits the mold but doesn't break it. While The Hangover, and Bridesmaids, wrote their characters as people first, Rough Night writes them as stereotypical women first, and characters second. Sometimes it works well, but often it doesn't.

In Rough Night, Jess's (Scarlet Johansson) bachelorette party is derailed because of the accidental death of the stripper that, of course, she did not ask for or want her friends to order. Because of the circumstances of his death, she and her friends Alice (Jillian Bell), Frankie (Ilana Glazer), Blair (Zoe Kravitz), and Pippa (Kate McKinnon) try to cover it up, and plot contrivances make the situation go from bad to worse.

Tonal shifts, personally, are rarely an issue when watching a movie, except this time. This death scene is one of the more jarring ones in a movie because it feels so disconnected from the rest of the film. It's played completely straight by the cast, but attempted humor is sprinkled in over screams and panic. The jokes are good, like one about a much-needed YouTube video on CPR being pre-empted by an ad, but everything else about the scene is saying, "if you laugh now, you're a bad person, and other people in this will look at you in disgust." What may have helped is if the director (Lucia Aniello) had the composer (Dominic Lewis) step in and leave a hint. One thing about the music, the soundtrack is less on the nose than Bad Moms.

As mentioned, the plot is lacking, and some things make no sense, like how Jess's fiancee is unable to contact Jess for part of the film. Does he really not have any of her friends' numbers? However, Rough Night tries to make these issues its strength, relies on its actors instead, and plays on the audience's expectations of new humor in the continuing R-rated comedy revolution. So, moments like a tame bachelor party, where Jess's fiance Peter (co-writer Paul W. Downs) is being consoled by his bros, work really well in the post-Apatow world. Downs, by the way, is one of the standouts on-screen.

The entire cast is great, after a rocky start, but only given so much to work with. McKinnon is a shining example of that. She must have trusted Aniello and Downs when they said, "do that thing you do, and we'll give Pippa something real the audience can hold onto." Pippa is almost exclusively comic-relief and is only as strong as McKinnon's crazy eyes and Australian accent. She's more than a plot device, and McKinnon is having a blast playing her, but that's because she owned the role.

Rough Night is a much-needed film, for the cast, for the genre, for its audience, but its success will only come from the similar movies that surpass it...I'm certain some of them will be better attempts from this group.

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The Road to El Dorado (2000)

Just before the dark times of DreamWorks Animation, and animation in general, during the mid-2000s, there was The Road to El Dorado, a film that is only wounded by its Disney-isms but not destroyed because of them. 

The Road to El Dorado follows two partners, Tulio (Kevin Kline) and Miguel (Kenneth Branagh) in their quest for gold. When they discover the city, they inadvertently become “gods” and must keep up the charade until they can escape back to Spain.

El Dorado’s biggest strength is in the life breathed into Tulio and Miguel, two of DreamWorks's most fleshed-out characters. While they work best playing off each other, it’s incredible how the screenwriters (Ted Elliot and Terry Rossio) kept the two independent of each other. This film easily could have been good if it only featured one of them, and the script wouldn’t be that affected. Instead, something great happens, as Kline and Branagh seem like they were cast together because they’ve been a team for years. The dialogue is sharp and fast, and the animation pushes the “show don’t tell” subtleties of Tulio and Miguel’s friendship. 

The other major characters are Chel (Rosie Perez), Chief Tannabok (Edward James Olmos), Tzekel-Kan (Armand Assante). They’re all fairly well-written, and fun, and bring a lot to this film, but Tzekel-Kan is part of where the Disney-isms start.

Besides being a bit of a musical, which wasn’t requested and wasn’t needed, DreamWorks needed to import a Disney villain into this film. As the film goes on, he gets better, but the film is too clear too fast about who this man is. Hearing that he’s basically the interpreter for the Gods is enough of a tip-off for teenagers watching this film, and El Dorado is meant for all ages, but his Scar-like face and manner of speaking feel unnecessary. Having said that, his later scenes may have inspired The Princess and the Frog’s Shadow Man, so that’s a beautiful shout-out from The Mouse nine years later.

Saying the film is meant for everyone cannot be overstated. It’s smart, it dips into the brand of humor has been trying to balance for years (“adult”), without going overboard, and El Dorado doesn’t shy away from some tense scenes (human sacrifice) or playing with film tropes and clichés. In fact, the movie handles religion in a very mature way, demonstrating how being a god isn’t all fun and games, but not bashing people over the head with what a responsibility it would be. While it’s fitting from the studio behind Prince of Egypt and Antz, it’s potentially unexpected today, when religion is such a major topic.

The second act may not be for everyone, although pacing in the film is hardly an issue, but the final act and climax are a breath of fresh air compared to what’s been the norm for decades.

El Dorado knows when to think small, and honestly, it could have been smaller. It could have even been a television show or even a radio play, but on the screen just about everything concerning money and time is budgeted just right, (apart from the musical segments that aren’t for everybody) and it shows when these two goofballs, and Chel, are just speaking effortlessly. 

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Uncle Sam (1997) | Graphic Novel

Uncle Sam is by Steve Darnall, Alex Ross, and Todd Klein

During times when confidence in the U.S government is steadily declining, the people tend to zero-in on the potential causes and jump to a conclusion. At the end of the day, they’re right when they say that modern corporations and politicians are to blame. At the same time, that’s a vague generalization that leads to very little change. Uncle Sam seeks to find the root of the problem, and it may have accomplished its goal thanks to one brief scene.

Uncle Sam #1 & #2 (collected in a 2009 reprint) tells the story of a homeless man named Sam who is “clad in star-spangled rags” (Uncle Sam), and speaking in “presidential sound-bites” (Greil Marcus) as a way to make sense of where he is and the state of the nation. His dementia-caused wandering takes him through a (mostly) chronological journey of America’s rough patches, while his real one has a back-drop of the end of an average political campaign.

Darnall takes readers behind the curtain of the political process, while still keeping an appropriate, spectators distance from it. He doesn’t take readers into a political headquarters because this deception shouldn’t be considered privileged information. It still may be shocking to some. It is for Sam. As he wades through history, the dichotomy of the nation takes shape. Darnall draws a realistic, but optimistic picture, the nation has made progress, but the more things change, the more they stay the same.

Copyright 2009 DC Comics/Vertigo

Ross, who co-plotted Uncle Sam, paints the picture beautifully. Having said that, I only have Kingdom Come to compare Uncle Sam to, and Kingdom Come just looks better. Maybe it’s by the necessity of the story, or maybe it’s personally easier to find little DC superhero details than little American history details. Objectively though, there’s a certain lack of physical depth to the environments and backgrounds in Uncle Sam, but that shouldn’t deter anyone because every panel still looks like a gorgeous cover, and they’re almost worthy of becoming a full-size poster. Sam is nearly life-like, and if he wasn’t the book would fall apart.

America is a tough country to root for, and it always has been. That’s Uncle Sam’s key revelation. America didn’t go downhill a century, or even decades after being established, but as it was being established. Specifically, cleaning up Shay’s rebellion (remember Shay’s Rebellion?)

Copyright 2009 DC Comics/Vertigo

Darnall and Ross create a clear line between where we are, where we’ve been, and where America will always return to. While “America” has a certain “comfort zone,” they’re proud of the progress the country has made and are simply asking for vigilance.

Sam’s journey reminds us that the citizen makes all the difference.

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