Tag: Comedy

REVIEW: Mickey 17

Madi Hammond Leave a comment

Science fiction meets satire in an explosive way in “Mickey 17” — but there is simultaneously too much and not enough of either.

Set in 2054, main character Mickey Barnes (Robert Pattinson, “The Batman”) signs up to be an Expendable on the newest space colony expedition to Niflheim after receiving death threats from a loan shark following a failed macaron business venture with his best friend, Timo (Steven Yuen, “Beef”). However, he soon realizes that not reading the paperwork thoroughly was a mistake. As an Expendable, Mickey is sent to do the most dangerous jobs and used as a human guinea pig for the research team onboard. Every time he dies, his memory is simply reuploaded into a newly reprinted version of his body. Meanwhile, failed politician Kenneth Marshall (Mark Ruffalo, “The Avengers”) commands the future colony full of his red-hat-wearing fans with a camera crew in tow, undeserved bravado, and promises of one day reproducing to make a “pure race.”

Once they reach the famed planet, however, native creatures they name “creepers” become a barrier to breaking ground. During an exploratory mission, Mickey miraculously survives a terrible fall. But by the time he makes it back to the ship, another Mickey has already been reprinted; and with “multiples” strictly forbidden under penalty of death, the angrier Mickey 18 and a milder Mickey 17 must keep their existence under wraps.

“Mickey 17” is director Bong Joon Ho’s most recent project after his award-winning film “Parasite.” Bong’s newest film is an amalgamation of genres: satire, horror, science fiction, and comedy, with a few touchingly romantic moments. From start to finish, the film is defined by absurdism. Mickey’s failed business, which was based around misunderstanding that “macarons are the new hamburgers,” sets the tone for a protagonist who has stumbled into something far beyond his understanding.

Ruffalo’s character, while officially inspired by an amalgamation of different tyrannical rulers, reads (at least to the audience at the showing I attended) as a parody of Donald Trump. His reality show-style governance, blonde wife, and red-hat-wearing followers make the connection undeniable. While this satire is amusing at first, its relentless intensity becomes exhausting over the two-hour runtime, growing more repetitive than revelatory.

Pattinson, on the other hand, carries the film with an engaging performance that oscillates between bewildered desperation and deadpan humor. His portrayal of both Mickey 17 and Mickey 18 gives each iteration of his character a distinct edge, subtly differentiating their personalities with their motivations, mannerisms, and even accents. However, the film never quite allows him to fully explore the psychological implications of multiplicity, treating the idea of splitting consciousness as more of a plot device than a deep thematic concern.

Despite its many strengths, “Mickey 17” ultimately feels unfocused. Is it a commentary on environmental protectionism? A philosophical exploration into the implications of dividing consciousness? Or an elaborate vessel for scathing critique of right-wing politics? It might be all of these things, but none stand out as the film’s central thesis.

The concept of the Expendables had the potential to be something profound, but instead, the film brushes past it in a brief flashback explanation about why reprinting technology is only allowed on Earth. This missed opportunity leaves “Mickey 17” feeling like a film bursting with ideas yet unwilling to fully commit to any of them. While entertaining, it leaves the audience wondering: What was the ultimate point?

REVIEW: Mary Poppins

Sappy Leave a comment

I had fond feelings but not much memory of Mary Poppins (1964), so when the Michigan Theatre showed this iconic, classic film, I was excited to re-explore the magical wonders and musical adventures the movie took me on in elementary school. At first, I feared the story would be too childish to enjoy, but I had a rather pleasant experience even as an adult.

The story takes place in early 20th-century London and around Jane and Michael Banks, the troublesome and ill-mannered children of George and Winifred Banks. Though wealthy and of respectable status, George and Winifred are emotionally distant parents. After Jane and Michael keep chasing away the nannies Winifred hires, George decides to take matters into his own hands and find the strictest nanny possible. Against his expectations, Mary Poppins arrives and immediately captures the innocent hearts of Jane and Michael with her rosy cheeks, magic items, and mysterious background. With Bert, a cheerful and kind street musician who works multiple odd jobs, Mary Poppins brings the children on unimaginable journeys while instilling discipline and moral principles through fun songs. Though written for children, the musical quality and melody of the songs in Mary Poppins, such as “A Spoonful of Sugar,” “Feed the Birds,” and the legendary “Supercalifragilisticexpialidocious,” captivate audiences of all ages.

I was most surprised by Mary Poppins’ stoic, strict, and prideful personality because I imagined a nanny to possess a more soft-spoken and gentle quality. However, actress Julie Andrews’ portrayal of confidence and quiet kindness brought to life the perfect nanny for Jane and Michael, who did not have a consistent adult figure in their lives. In contrast to Mary’s authoritative demeanor, Dick Van Dyke’s character, Bert, is goofy and nurturing in his own way. His Cockney accent and regular fourth-wall-breaking antics bring a lighthearted energy and make each scene more immersive.

I can see why this movie made such a deep impression on me as a kid. For younger audiences, Mary Poppins is a film that fosters imagination in the mundane scenes of daily life, inspires hope for a more exciting future career, and helps children identify the simpler joys in even doing chores. On the other hand, for adult viewers, this movie serves as an example of good parenthood and an exploration of family dynamics, specifically highlighting how misunderstandings and emotional neglect can influence children. This thematic element encourages adult viewers to evaluate the method and significance of nurturing emotional bonds within their own families.

Although the storytelling starts strong while setting the scene and introducing the main characters, the plot grows frustratingly slow without much character development or world-building, which is when I had to remind myself that children are the target audience. Even though this movie does not demand a re-watch, Mary Poppins deserves its name as a beloved classic and enjoyed best as a leisurely, nostalgic experience.

REVIEW: Nate – A One Man Show

Maeve Ricks Leave a comment

Have you ever felt your jaw ache from being dropped in shock for a whole hour?

No? Oh, well, that’s too bad. You sure are missing out… To experience it firsthand, go see Nate – A One Man Show. 

In its 146th season, the University Musical Society (UMS) presents Nate – A One Man Show (Nate for short), as its penultimate showing in its fourth iteration of the “No Safety Net Series.” This series of performances promises “audiences a platform to engage with high-impact theatre that challenges conventions and confronts complex themes head-on.” Nate is no exception. 

Created and performed by Natalie Palamides, Nate – A One Man Show is an hour long comedy performance that shocks and shines through the smoke of fake Marlboro cigarettes. Performing entirely in drag, Natalie becomes Nate: a shorter and overconfident look alike to the Brawny paper towel man who sports a cowboy mustache, black eye, and cargo pants. 

From start to finish, Nate shocks, disgusts, and humors the audience. Palamides plays an exhibitionist who demands applause and validation, and the audience willingly gives it up. As Nate quips, “bitches be thirsty.” And we sure are, drinking up every crude joke, racy pose, and can of free LaCroix that Nate hands out. 

Nate pouring LaCroix down his face to simulate crying
Nate pours a can of LaCroix down his face to “feel something.”

Speaking of liquids, beware the splash zone! Nate has a tendency to spray the audience whether it’s from the cans of LaCroix he shotguns or the shower he takes in a kiddy pool. I sat in the mezzanine thanking G-d that I wasn’t anywhere near the chaos of this show. Audience participation is voluntary, of course, but, as this show examines, consent isn’t always black and white. 

Throughout the show, Nate asks many audience members (and the stray mannequin) for consent to interact with them in whatever raunchy way the show calls for. Even a general liability waiver is signed at one point. Beyond legal documentation, the show’s usage of asking for consent highlights the grey areas in which we ask for and give consent. This important conversation, masked by comedy, asks more questions than it answers, leaving me with a sour, but welcome taste in my mouth. 

Behind the absurdity that Nate presents, lies a familiar, yet unstated debate: man vs bear. Recently a point of division on social media, the debate asks “would you rather be alone in the woods with a man or with a bear?” In this case, would you rather be alone in the theatre with Nate or with a bear? 

Maybe someday we will have answers to these questions. Maybe one day, it’ll be easier to be alone with someone like Nate in the woods. For now, though, Nate will continue to ride his toy motorcycle into theatres across the globe, and audience members will continue to drive their cars to these theatres to feel the weight of their jaws on the floor. 

 

If you weren’t able to catch Nate in Ann Arbor this February 5th-10th, you can watch Nate – A One Man Show on Netflix.

REVIEW: Wicked

Sappy Leave a comment

After several disappointing movie-musical adaptations in recent years, I was skeptical that Wicked would be any different. As the first musical I had ever seen, and on Broadway in New York no less, I had especially high expectations. However, I was pleasantly surprised to discover that the hype surrounding the movie was justified. Under the guidance of director Jon M. Chu, with a talented main cast including Ariana Grande (Glinda), Cynthia Erivo (Elphaba), and Jonathan Bailey (Fiyero), Wicked offered a refreshing take with a charm that still retained the essence of the Broadway play that sparked my love for musical theatre.

Based on Gregory Maguire’s novel Wicked, the story is a prequel to The Wizard of Oz. The main character, Elphaba, grows up experiencing hardships due to her unusual green skin. Ostracized by even her own family, she is nonetheless loved by her nanny. Because of this, she grows up with a pure heart. When she sends her younger sister to Shiz University, Elphaba catches the eye of Madame Morrible, played by Michelle Yeoh. Morrible is a famous magical history professor and the object of admiration for Glinda, a beautiful and popular girl who has lived a life essentially the opposite of Elphaba’s. As the story progresses, it explores the complex relationship between the two women. Their character development is one of the highlights of the story, touching on themes of friendship, values, purpose, and societal expectations. Grande and Erivo’s chemistry, both on and off screen, brought this relationship to life brilliantly. 

Despite both the musical and the movie running for roughly three hours, the movie only covers half of the original story. I did feel that the pacing dragged at times, with the plot progressing slowly—almost frustratingly so. However, this slower pace gave more creative freedom to the director and actors. Compared to the stage production, Elphaba and Glinda felt more alive in this version. Their characters were more developed and complex, which created a deeper connection with the audience. I particularly enjoyed Glinda’s nuanced portrayal, whereas in the play, she seemed more ditzy and one-dimensional.

Though I find live singing and dancing more impactful, the movie was still incredibly immersive. The film’s close-up shots of the characters, their costumes, and facial expressions added a level of intimacy that the stage production can’t match. The lighting and camera angles also contributed to a richer atmosphere. The movie was visually striking and the vivid colors truly brought the fantasy world of Oz to life. These added details allowed for more foreshadowing, extensive world-building, and deeper character development. It never felt like a simple recording of the play. 

A friend of mine, who is more versed in musical theatre techniques, also offered some insightful commentary on how film is a unique medium. On stage, only those sitting in the front row get to see the actors’ faces clearly, and even then, it’s impossible to catch all the small details. It’s difficult to compare movies and theatre because they offer different experiences and strengths. Perhaps that’s why I remain skeptical about many movie-musical adaptations retaining a high quality—they’re often unfairly compared to the original. Nevertheless, Wicked is proof that a great musical-movie adaptation is possible.

REVIEW: John Proctor Is the Villain

Sappy Leave a comment

Photos are provided by Peter Smith Photography

On the night of November 21st, my friend and I walked out of the Lydia Mendelssohn Theatre in a passionate discussion about the SMTD performance of John Proctor Is the Villain, a comedy-drama written by Kimberly Belflower. Going in, I was intrigued by the play’s premise and curious about how it would intertwine the themes of The Crucible—a play written by U-M grad Arthur Miller—with contemporary issues.

John Proctor Is the Villain takes place at Helen County High, the only high school in a small town in Georgia. Set in 2018, when the #MeToo movement on social media gained attention, the story follows a group of high school juniors during their spring semester (coincidentally, I was also a junior in high school then). Most scenes occur in the classroom of Carter Smith, a young, charismatic, and popular teacher. Although Mr. Smith’s class is small, his students embody the archetypes of nerdy, sporty, chic, and emo characters you would expect to find in a larger high school. As Mr. Smith and his students read The Crucible, they begin to discuss John Proctor, who, despite being an adulterer, enjoys a good reputation and is praised as a hero. At the same time, a group of girls formed a club to explore what feminism exactly means and how to be a feminist. 

Though it starts lightheartedly, this production dives headfirst into heavy themes, including racist and sexist language, depictions of violence, and abusive relationships. At its core, the play is a commentary on sexual assault, highlighting how it remains a pervasive issue that is too often dismissed or ignored. As the plot thickens, the shifting dynamics reveal the profound disparities and emotional toll that sexual assault takes on both victims and those connected to them. The play explores a range of complex emotions—confusion, disbelief, embarrassment, anger, sadness, and more—all of which feel raw and deeply human. As I watched from the audience, the character development prompted me to reflect on my past relationships, experiences, and vulnerabilities.

The actors’ accurate portrayals of these complexities made the performance even more impactful and thought-provoking. Their depiction of messy teenage friendships—fraught with reluctance and miscommunication—felt incredibly realistic. Through desperate and hesitant tones in their voices and insecure body language, they authentically captured the essence of adolescence. Student actor Hugh Finnigan embodied Mr. Smith’s charismatic persona so convincingly that, from the beginning, I gravitated toward his character. His confidence and mannerisms fondly reminded me of my favorite high school teachers.

The production’s minimal set design—consisting solely of school desks and a blackboard—underscored the idea that no environment, no matter how safe or familiar it seems, is immune to the threat of sexual assault and harassment. The costumes and makeup reflected each character’s stereotypical personality, but by the end of the play, teach us not to judge a book by its cover. Finally, the dance-break transitions between scenes became a powerful visual metaphor for resilience, symbolizing the characters’ capacity to reclaim power and persevere.

John Proctor Is the Villain delivered a surreal and eye-opening experience, culminating in an ending that felt chilling, uplifting, shocking, and awe-inspiring all at once. Moments that initially seemed surface-level gained significant weight as the characters displayed profound growth and emotional depth. By analyzing their behavior, reactions, and capacity for trust, the play sheds light on how people navigate societal pressures and personal challenges.

As my friend and I left the theatre, we found ourselves discussing how societal norms shape the assumptions we make about people in our everyday lives and how dangerous these assumptions can be in perpetuating harmful power structures. This production left an indelible impression, and I would highly recommend it to anyone seeking a thoughtful and emotionally resonant theatrical experience.



REVIEW: Anora

Madi Hammond Leave a comment

Oh, Mikey Madison. What can’t you do?

From the start of “Anora,” the actress that is so soft-spoken in interviews blasts into the picture as Anora– nicknamed Ani– with her brazen confidence and strong Brooklyn accent. A 23-year old sex worker, we are first introduced to Ani in element working at the club. Between vape puffs, Ani charms wealthy visitors into buying dances from her, until her boss pulls her to a guest who requested someone who speaks Russian. 

Ani speaks some Russian, and is then introduced to Ivan, who says she can call him Vanya (Mark Eydelshteyn). The next day, she visits his mansion for a private booking, where he tells her that he comes from a very wealthy Russian family. He offers her $15,000 in cash to be his “girlfriend for the week,” and so the whirlwind of sex, drugs and alcohol begins. It culminates with a shotgun wedding in Las Vegas so Vanya can stay in the United States. 

Ani and Vanya get married. Courtesy of Neon.

It seems like a happy ending for Ani, who now has access to all the riches she could ever imagine – but unfortunately it is never that easy. While she takes the marriage very seriously (“We are mah-rried and we are in love!”), when Vanya’s godfather and chaperone Toros learns he got married, the jig is up. The “muscle” – Garnick (Vache Tovmasyan) and Igor (Yuriy Borisov) —  arrives at the mansion’s front door, and a panicked Vanya sprints out the door, leaving Ani alone, confused and angry.

Toros arrives, and after a long sequence of fighting and overlapping yelling in Russian and heavily accented English, Ani is convinced to help them look for Vanya. And off we go into our second genre. 

The movie is described on google as a comedy/romance. Where is drama in that description? This genre-bender begins with a whirlwind Cinderella-story romance between Ani and Vanya and transitions into a situational comedy with “Home Alone” style injuries of the sterotypical “Russian goon” as the four look for the spoiled oligarch across the city and eventually in every night club. The final act of the movie – once a blackout drunk Vanya is finally found and is dragged to confront his parents – has a much darker tone. 

The four search for Vanya throughout New York. Courtesy of Neon.

This rollercoaster of a plot left me in tears at the very final scene, alongside Madison on the screen. From the barrage of sex scenes at the start to the dry ironic comedy of the middle, the ending is quieter, more subdued, and sad. And honestly, this was the best possible way to conclude the story. A classic “rags to riches” tale is so on the nose, and at first, that was where I expected it to go. When Ani leaves the club, for example, she carries a clear pair of heels and even explicitly says that she feels like Cinderella. For a moment, I feared it might veer into a clichéd rom-com, but it took a turn I didn’t expect.

One unique aspect of the movie was the constant interchange between English and Russian. For most of the Russian spoken, there were subtitles on-screen, but occasionally there was some Russian left untranslated. Madison said in an interview that she didn’t know any Russian before this role, and learning how to speak Brooklyn-accented Russian was even more difficult; but to someone who doesn’t speak any Russian like myself, it all sounded the same. 

Madison is spectacular as Ani. She portrays Ani as tough-as-nails but also vulnerable, both in key moments and with subtle expressions. Eydelshteyn also acts with incredible nuance; the sincerity that he adds to the immaturity of Vanya makes it believable that a street-smart Ani would fall for his promise of genuine love. 

“Anora” is both sadly ironic and darkly funny. Don’t underestimate the serious merit of this film from the flashy trailers; it will leave you with both more laughs and more thoughts than when you came in.