IN MEMORIAM TOP 6 LIST: LAUREN BACALL
What a rough week for cinema fans as we lost another legend today. Lauren Bacall was one of Hollywood’s biggest dames, a truly alluring beauty with the acting talent to match. Very sad news.-JL
I recently sent an inquiry about possibly bringing Richard Linklater’s Boyhood to Tyler, TX. Earlier today I was surprised to receive this response back, while the information is disappointing for movie fans in East Texas (we’re used to it), I’m thankful for Ms. Hattaway taking the time to respond personally to my request.


Review by-Jarrett LeahyInstead of placidly settling into the trailer home picked out for him after being forced off his farm, aging rancher Red Bovie decides to take his newly discovered grandson on a wild road trip to Old Mexico for one last hurrah of booze and women. Unfortunately, their night of debauchery takes a perilous turn when they inadvertently get caught in the middle of a drug deal gone wrong.
If I created a list of my favorite actors (which isn’t a bad idea, stay tuned) Robert Duvall would easily be somewhere in the top five. His resume of iconic films and performances, including some of the western genre’s most beloved movies (Lonesome Dove, True Grit, Open Range), is beyond reproach. I imagine it was his intimate connection with the western that initially drew him to A Night in Old Mexico. Unfortunately, Duvall winds up being the only redeemable aspect of this mediocre creation. Channeling his go-to charismatic persona, Duvall’s command of the screen helps overcome many of the glaring deficiencies in the film’s five-cent script, keeping the movie from completely tanking into the depths of abysmal schlock.
The same way country music is mocked for having stereotypical subject matter, the western genre has long been known for indulging in storyline subplots that can be considered at times a bit cliched. Unfortunately, A Night in Old Mexico tries to take practically every one of these well-worn banalities and crudely jam them all into this story, turning the film into a pitiable caricature. It was almost as if they had a checklist of characters and situations. Cantankerous old cowboy and a long-lost grandson? Check. Farmland being forcibly taken? Check. Getting-to-know-you road trip to Mexico complete with booze, broads, drug deals gone bad, proverbial shootouts, and a helpless Mexican girl? Check, check, check, and check. What exacerbates the problem even more is each of these narrative developments is delivered by hopelessly wooden, one-dimensional characters hampered by dialogue that is painfully clumsy at times.
Disappointingly, the film’s worst offender is Jeremy Irvine and his fish-out-of-water character, Gally. Irvine’s performance (or lack thereof) brings up the age-old question that arises when there is a glaringly subpar performance. Was it the actor’s lack of talent or grasp of the material that was to blame or simply a poorly written script? While time will tell about Irvine’s true skill as actor, I do recall being sincerely impressed with his poignant portrayal in The Railway Man which makes me lean toward casting more of the blame for this dopey performance on the film’s tripe screenplay that I’m shocked to report was penned by noted screenwriter Bill Wittliff, the same writer who gave us Legends of the Fall and Lonesome Dove. This, however, does not let Irvine completely off the hook. His absurd portrayal during the film’s final scenes almost single-handedly sank this already leaking boat. With his career still in its infancy, Irvine better hope this film dies a quick obscure death.
A Night in Old Mexico is the second feature directorial effort and first English-language film of Spanish filmmaker Emilio Aragon, best known for his work in Spanish television. Sadly, if this is the best he can do, perhaps he may want to stick with television. A Night In Old Mexico is a stale, second-rate work that falls far short of even my tepid expectations. While Robert Duvall is undoubtedly the best thing about this cliched, present-day western, sadly, he should have simply said no to this trifling piece of forgettable cinema.-JL
Review by-Jarrett LeahyA contemptible 40-year-old dropout hellbent on exacting revenge against the world, finds an eligibility loophole that allows him to compete in the renowned Golden Quill National Spelling Bee. Threatening legal action if he isn’t permitted to participate, his reluctant admittance sets off a whirlwind of disdain and mockery from both officials and angry parents who claim his participation besmirches the reputation of this prestigious competition.
Bad Words is the feature directorial debut of comedy veteran Jason Bateman. Being the first filmmaking effort for both him and screenwriter Andrew Dodge, the movie showcases their exaggerated and often twisted senses of humor. These two collaborators weren’t shackled by any past success or expectations which allowed them the creative freedom to take some refreshingly original comedic risks born of their endeavors to make each other laugh. Bateman’s knowledge as a filmmaker was honed through directing the occasional episode on the various television series he worked on over the years. His know-how and dexterity to competently juggle both behind-the-camera and acting duties make me hope Bad Words is just the beginning for Bateman as a director.
As a comedian, Jason Bateman has quietly turned himself into the droll prince of dark humor, a branch of comedy that requires the astutely deft skill of toeing the line of offensiveness without ever crossing it. While casting himself in this lead role may have originally been done out of desperation, hindsight says this was a no-brainer, as Guy Trilby is simply right up Bateman’s comedic alley. In fact, I struggled to come up with another comedian who could actually make this contemptuous bastard a likable guy like he so expertly manages to do. The vitriol and malice of Guy’s verbal assaults are hilariously coarse and foul-mouthed yet delivered in the most aloof and impassive irreverence, so you can’t help but shake your head and chuckle at the verbosity of his insolence. However, this character, with all his bluster and hubris, is simply a hurt and lost individual whose single-minded desire to enact vengeance has blinded him to the pain his petulant outbursts cause other people. As the story unfolds, we observe subtle nuances in Bateman’s facial expressions showing this once impenetrable wall of defense is slowly coming down, thanks in large part to his newly found partner in crime.
The true scene (and heart) stealer of Bad Words is 8-year-old Rohan Chand. Chand was originally discovered by a casting director while playing little league baseball which lead to his first acting gig in the relatively forgettable 2011 Adam Sandler comedy, Jack and Jill. While you never know what to expect with child actors, especially ones so fresh to the business, right from his opening scene, it was quite apparent that Chand was perfectly cast to play fellow spelling bee competitor Chaitanya Chopra. Being a former child star himself, Bateman’s sincere affection for his pint-sized sidekick is unmistakable. Not only did Chand hold his own when collaborating with his much older adversary, his sincere, lovable, and wide-eyed innocence offers a heartwarming hilarity that fittingly balances Bateman’s biting irreverence. Together, these two share a side-splitting onscreen partnership that I couldn’t help but compare to another classic raunchy comedy, Bad Santa.
Comedy is in the mind of the beholder, and some will likely find the humor of Bad Words to be too flagrant. However, as Bateman says during his behind the scenes interviews, the dark humor his cynical character so shrewdly spews out is delivered in ignorance, not hatred, and is mitigated by narration that openly admits many of his aberrant actions went way too far. It doesn’t take a scholar to realize the premise of Bad Words is a bit absurd, but what makes this comedy so darn entertaining is the affinity shared between the two lead characters and the genuine fondness veteran actor Jason Bateman has for this very personal venture as a first-time director. Filled with laughs from start to finish, I have little problem declaring Bad Words the most consistently amusing comedy I’ve seen so far in 2014.