A HOLOGRAM FOR THE KING
(US/Germany/France/Switzerland/Mexico - 2016)
FATHERS & DAUGHTERS
(US/Italy - 2016)
LOOKING FOR MR. GOODBAR her way through her daddy and abandonment issues, frequently picking up random men at bars for public quickies (Jake isn't around in 2014, so it's obvious he's died at some point in the 25-year interim). She meets an aspiring writer, Jake Davis superfan, and all-around good guy in Cameron (Aaron Paul), and their tender lovemaking is a stark contrast to numerous scenes of Katie getting drilled from behind in the backseat of a car or in a men's room shitter at a bar. Of course, nice-guy Cameron is exactly like her father and therefore, the film posits, exactly what she needs, so she repeatedly tries to sabotage a potentially good thing with her inability to commit and face all the trauma in her past with her mother's death and her father's breakdown.
Never mind the cliche of a woman resorting to promiscuity over unresolved parental issues--Muccino and debuting screenwriter Brad Desch have no notion of the concept of storytelling subtlety. They floridly hammer everything home in an overbaked fashion both in dialogue and filmmaking techniques, with one Katie/Cameron argument pointlessly played out in a long, dizzying single take down a NYC street, into a cab, and back out on the street again for no reason other than Muccino trying to make something out of nothing. Or there's clumsy exposition drops like our first look at adult Katie, when one of her fellow grad students runs up to her and exclaims "I can't believe you're about to get a graduate degree in Psychology!" It just grows more laughable as it goes on, in the 1989 scenes with an increasingly distracted Jake repeatedly trying to make amends with young Katie by referring to her nickname "Potato Chip," the two of them singing along to a Michael Bolton cover of Burt Bacharach's "(They Long to Be) Close to You," and Jake being hit by seizures at all the predictable times, like a major book signing (he has pills for this condition--why doesn't he take them?). In the 2014 scenes, FATHERS & DAUGHTERS turns into an all-out howler by the end, with Katie about to leave a bar to partake in an orgy with some strangers when the Bolton cover of the Bacharach song comes on the jukebox, prompting a total meltdown. This is a non-descript little dive bar in NYC that's playing alternative music at the beginning of the scene. Not even the most insufferable Williamsburg hipster douchebag would play a Michael Bolton song. And why is that song even a choice on a jukebox in this bar? And when a night out is ruined by the drunken appearance of one of Katie's one-nighters from a year ago ("I fucked you on your kitchen floor!" he yells), she tries to explain her past to Cameron, a guy so nice and sensitive that a never-played acoustic guitar is visible on a rocking chair in his apartment, with "You thought you were getting Potato Chip, and you ended up with some cheap piece of ass." What else? Oh, during an argument between Jake and William over the looming custody fight, a sneering Greenwood is actually required to bark the line "I've got more money than God!" The film completely strands its capable actors with unplayable roles, whether it's Crowe slipping in and out of a broad Noo Yawk accent or Kruger delivering a shrill, wine-swilling performance as the boozy, bitchy control freak Elizabeth. Younger actors Wallis and Rogers manage to escape unharmed, but there's also nothing supporting roles for Octavia Spencer (an Oscar winner for THE HELP) as Katie's boss, two-time Oscar-nominee Janet McTeer, wasted in one brief scene as Katie's therapist, and Jane Fonda in a small role as Jake's caring agent who can't bring herself to tell him he's washed up. Ludicrous, manipulative, and completely over-the-top, FATHERS & DAUGHTERS definitely has some potential to be an audience participation camp classic down the road. (R, 116 mins)