Talking Movies

July 24, 2018

From the Archives: The X-Files: I Want to Believe

Another deep dive into the pre-Talking Movies archive dredges up a sequel that really should have stayed hidden deep down.

There are some spooky things about this film, none of them to do with the plot. It’s been ten years since the first X-Files film Fight the Future, six years since the show ended, and eight years since everyone stopped caring. So why release this film against the all powerful Dark Knight when it’s so obviously a Hallowe’en film? Every scene takes place in a snowy West Virginia winter and the story eschews alien conspiracies for straight horror. Even odder, given that The Dark Knight is a triumphant sequel, original show writers Chris Carter and Frank Spotnitz are pitting against it a sequel that is not faster, harder and better. Where Fight the Future went for big effects (remember the glorious tastelessness of its opening Oklahoma bombing recreation?) this is a sequel that aims to be quieter (!!), and fails…

This film believes itself to be a low-key emotional character study spliced with some deliciously grotesque shlock horror. Fox Mulder is a broken man (we know this because he has a beard) while Dana Scully is working as a doctor in a Catholic hospital. Scully is asked by the FBI to bring Mulder in for a consult on the case of a missing agent, as the only leads come from a psychic paedophile priest Fr Joe, played with surprisingly unshowy aplomb by Billy Connolly as a man tormented by his instincts and desperate for redemption and forgiveness. Mulder is rejuvenated by the case (he shaves off his beard) but Scully remains sceptical, some things never change.

This film never descends to George Lucas dialogue but most scenes between Mulder and Scully take five minutes to run thru three simple ideas; “You need to trust people again, take this job Mulder”, “This job has too much darkness Mulder, you should drop it”, and “This job is all I know how to do Scully”; these longeurs lead to musings –  like the hilarious notion that the militant atheism of Dawkins, so hip since 9/11, will be infuriated by the unashamed leaps of faith taken by Mulder and Scully in believing in the supernatural. Scully may doubt the existence of God as much as ever but she still curses him…

This film is too low-key for its own good. Chris Carter directed episodes of the TV show with more visual flair than he displays here. Amanda Peet and Xzibit do their level best with under-written roles as FBI agents. Callum Keith Rennie, a Canadian character actor best known for his Cylon in Battlestar Galactica and undercover cop in Due South, outshines them in lead support as a sinister Russian serial killer/organ-harvester. A suspenseful chase scene involving him is a highlight but such moments are offset by Scully’s sub-plot which is insultingly emotionally manipulative. It’s nice to see Mulder & Scully together again as older characters, but it would be better if they were in a worthy conspiracy laden sequel and not merely an efficient horror movie.

3/5

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October 21, 2016

Keeping up with the Joneses

Director Greg Mottola returns to cinemas for the first time since Paul, but working with inferior material to his recent Rogen, Pegg, and Sorkin scripts.

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Jeff Gaffney (Zach Galifianakis) is an ineffectual HR drone who is genially disregarded by all the people with security clearance at major weapons manufacturer McDowell-Burton International. His wife Karen (Isla Fisher) is dissatisfied designing an absurd bathroom for obnoxious neighbours the Craverstons (being a largely wasted VEEP star Matt Walsh as Dan and Maribeth Monroe as Meg). As the Gaffneys agonise over how to utilise their sons’ time at summer camp to revitalise their marriage new neighbours arrive; the uber-stylish uber-sophisticated Joneses, Tim (Jon Hamm) and Natalie (Gal Gadot). Jeff is surprised at Tim, the travel writer who blows glass sculptures as a hobby, befriending him. But Karen grows suspicious that Tim and Natalie are actually spies, and when Jeff takes his concerns to MBI security officer Carl Pronger (Kevin Dunn), the Gaffneys enter the sinister world of ‘The Scorpion’.

What exactly is Greg Mottola, director of Arrested Development, The Newsroom, Superbad, Paul and Adventureland, doing helming this action-comedy? This is the comediocre terrain of hack auteurs like Shawn Levy or (shudder) Paul Feig. Mottola has some fun playing on the remarkable coincidence that Gadot & Hamm are both 7 inches taller than their counterparts Fisher & Galifianakis. There’s a lot of looming… It’s a treat to hear Gadot berating Hamm in rapid-fire Hebrew insults, but there’s not a whole lot else going on. Mottola shoots action with pleasing commitment to practical stunt-work, and throws in gleefully parodic action-hero slo-mo and hero shots of Gadot and Hamm, but the lack of any real driving comedic intent is almost metatextually reflected in Andrew Dunn’s cinematography being remarkably soft-focus; as if he was massaging out the cast’s wrinkles in Murder, She Wrote.

Michael LeSieur’s screenplay is a strange beast, and it’s hard to see what in it attracted Mottola. This film is obviously in debt to Mr & Mrs Smith, and even that had longueurs, but Keeping up with the Joneses lacks that movie’s over-arching sense of fun; which kept the wheels spinning when there were no actual jokes. Here LeSieur has very few actual jokes at all, and, in sending Jeff on trips to exotic snake restaurants with Tim, slips into what feels like a tip of the hat to David Duchovny’s intermittently interesting satire The Joneses; where perfect new neighbours are actually a guerrilla sales team. Depressingly early on you realise this is another major studio comedy that has tidy plotting and neat character arcs, and basically no jokes. When exactly did that approach to writing ‘comedy’ become conventional wisdom?

Keeping up with the Joneses just about holds the attention, but given the calibre of talent involved you just wonder how nobody noticed that it wasn’t actually … funny.

1.5/5

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