Kirsten Wiig

  • Wonder Woman 1984 (2020)

    Wonder Woman 1984 (2020)

    ByChristian Sauvé Movie Review

    (Video on-Demand, April 2021) When watching Wonder Woman 1984, it’s difficult to escape the thought that we’ve been spoiled by recent superhero movies. While we were perfectly fine taking in merely competent ones in the 2000s (because there were so many bad ones), the bar was raised once Christopher Nolan and the MCU entered the game. Now that the DCU has levelled up, notably with the first Wonder Woman film, expectations have risen (explaining lukewarm reactions to even to the recent-and-improved Zack Snyder’s Justice League) and the old way of sorta-kinda stumbling into something slightly satisfying is no longer impressive. Wonder Woman 1984 does signal its problems early on, as one overstuffed character introduction is followed by another overstuffed introduction of the same character. The script is at the foundation of all problems, with numerous issues and a lack of depth everywhere you look. The film fails any kind of plausibility — even at the surface level, nearly every minute brings a new and unsatisfying questions on top of a pyramid of implausibility, lazy plotting and half-baked developments. Perhaps most horrifying is a subplot about bringing back a character from the previous film by having him take over the body of Some Random Guy with a stunning lack of awareness in addressing the troubling issues inherent in that development. But Wonder Woman 1984 is just as incoherent in justifying its world-changing events or its individual character moments or its leap from one implausible plot point to another. The execution repeatedly stumbles over trite lines and ordinary moments, leaving a strange impression of a film that could have used another rewrite, shortening it to something snappier than two and a half meandering hours, and not painting itself into dumb corners along the way. Fortunately, it’s not a complete waste of time: Gal Gadot is still quite good as the lead character, and it’s an inspired choice to see Kirsten Wiig unlock her potential beyond awkward comedy. Pedro Pascal has his moments as a surprisingly likable villain, and the film’s action sequences occasionally work. There’s a really fun cameo slightly in the credits and the look at the 1980s can be fun. But it all comes at the price of being irritated throughout the film by a litany of mistakes big and small. But then again, we’re been lucky in terms of superhero films lately—so even middling efforts like Wonder Woman 1984 can feel like disappointments.

  • Masterminds (2016)

    Masterminds (2016)

    ByChristian Sauvé Movie Review

    (On Cable TV, July 2017) I may be overdosing on criminal comedies featuring idiots, explaining my tepid reaction to Masterminds. On paper, it does sound promising: What if an idiot working for an armoured car company found a way to steal a considerable amount of money … only to be stalked and targeted by equally idiotic accomplices? Throw in a cast including such notables a Zach Galifianakis, Owen Wilson, Kirsten Wiig, Leslie Jones or Kate McKinnon and you’ve got the making of a good-enough comedy. But it takes more than comedians and a premise to make a film, and as Masterminds lurches from one mildly amusing set-piece to another, there’s a feeling that director Jared Hess is up to the kinds of tricks that made his previous films (Napoleon Dynamite, Nacho Libre, Gentlemen Broncos) so divisive. Masterminds makes the classic blunder of keeping an unfunny gag running for as long as possible, sapping audience goodwill at periodic intervals. There are clearly attempts at making something amusing in this film, and some of them even succeed. But the overall result is not particularly funny, and the criminal plot of the film really isn’t strong enough to pick up the slack. Owen Wilson seems a bit lost in a role that robs him of his usual genial nature, and Wiig is up to more or less the same kind of awkward comedy that either works or not. This being said, Gallifinakis is not bad, and comic-chameleon Kate McKinnon continues her prodigious streak of disappearing in the roles she’s given. Masterminds doesn’t exactly deserve a spot on worst-movie list, but it certainly disappoints.

  • Welcome to Me (2014)

    Welcome to Me (2014)

    ByChristian Sauvé Movie Review

    (On Cable TV, February 2016) It quickly gets obvious that Welcome to Me isn’t meant to be a conventional laugh-fest. Specializing in the kind of cringe-inducing comedy that seems all-too-popular lately, Welcome to Me wants to be an absurdist character piece, studying what happens when a woman with deep and complex psychological issues suddenly becomes (thanks to a lottery win) able to do whatever she wants in an effort to find closure. That “something” ends up being producing her own TV show, which she uses to relive her past, interview acquaintances, realize some fantasies and exact revenge on those who have wronged her. Nonchalantly wielding a chequebook to pave over any objections, she purchases the services of a struggling production studio and goes wild in conceiving and hosting the show. In other hands, with other intentions, this could have been very, very funny. But that’s not what director Shira Piven and star Kirsten Wiig are about. As you may expect from Wiig (who seems to be adopting neurotic debilitation as a crucial element of her screen persona), the film induces one wince after another, smothering the comic value of its ideas into a heavy gauze of pitiable narcissism, enablers and aghast witnesses. The ending is more than a little frustrating, showing only incremental progress rather than the all-out catharsis that many would have preferred. Wiig actually isn’t bad in the lead role, which requires a lot more dramatic prowess than comic chops. But that’s in keeping with a film that is considerably sadder than it could have been had the intention been to go for a straight-up comedy. Maybe there’s another, very different film waiting to be made using this exact premise.

  • The Secret Life of Walter Mitty (2013)

    The Secret Life of Walter Mitty (2013)

    ByChristian Sauvé Movie Review

    (On Cable TV, November 2014) On paper, The Secret Life of Walter Mitty looks like a terrific film: Ben Stiller as a dreamer forced out of his comfort zone, elaborate fantasies gradually ceding to ever-more-incredible real adventures as based on a classic James Thurber story.  There’s a lot of potential here for a meaningful film, heartfelt lessons and grandiose epiphanies.  The film’s budget is decent, allowing whatever fantasies and real-life vistas to be captured in detail.  Why, then, does the result feel so perfunctory?  While the film isn’t unpleasant to watch, it somehow fails to spark beyond mere competence.  The fantasy sequences are seamlessly integrated (and at least once escalate all the way to superhero theatrics) but even they can’t completely bring sharp humor and cutting wit into the entire production.  It probably doesn’t help that the third act drags on for so long, especially once the emotional high points of the story should have been settled.  There isn’t anything bad to say about Stiller’s direction –especially given the visual inventiveness of some sequences– although he himself may be too old to play Mitty.  (Meanwhile, Kristen Wiig is pretty enough as the somewhat underwritten love interest, while Adam Scott is deliciously evil as an insensitive boss.)  The integration of (now-defunct) Life Magazine is felt more deeply as thematic assistance than product placement (although if you want product placement, eHarmony, Papa John’s and Cinnabon are there to make you happy.)  Much of the plotting seems arbitrary, with at least two palpable moments where narrative tension evaporates at the moment it should become more urgent.  There may be an unresolvable tension at work here, between the wild fantasies and the desire to deliver a grounded and meaningful life lesson.  Even when it strives to embrace a more colorful, grander life, the film seems happy in its mild-mannered ways.  In the end, The Secret Life of Walter Mitty settles for being a good film rather than the great one that it wanted to be.