Lily Tomlin

  • All of Me (1984)

    ByChristian Sauvé Movie Review

    (On Cable TV, March 2021) While it may not be mentioned as often as The Jerk or Roxanne or other Martin films between 1979 and 1988, All of Me is just as representative of Steve Martin’s earlier, funnier film performances. (Its lower profile probably comes from the fact that Martin isn’t credited with co-writing the script.)  While its body-possessing premise may not be as cheerfully absurdist as other Martin films of the time, it does let him perform several sequences of pure body comedy. Playing a meek man whose body ends up half-possessed by a rich heiress, Martin pulls out all the stops in showing a man half-controlling his movements, with the other half freaking out at the predicament. Much of the good stuff, however, takes place in the buildup of the film — perhaps sensing overexposure, the body comedy gradually leaves enough space for a strong comic narrative in tie for a satisfying ending. Martin gets some astonishing support from Lily Tomlin as the heiress whose possession plans ran amuck — Director Carl Reiner keeps her in the film long after her death by having her show up in mirrors to talk to Martin’s protagonist, leading to a final shot that becomes a likable romantic flourish on top of the entire film. The entire film is in a slightly different comic register than other Martin movies, but it holds up very well even today, and probably deserves a bit more attention — the best sequences are anthology-worthy.

  • Big Business (1988)

    Big Business (1988)

    ByChristian Sauvé Movie Review

    (In French, On Cable TV, April 2020) As high-concept comic premises go, “mismatched twins” is pretty good so how about “two pairs of mismatched twins”? How about having one very upper-class set, and one very working class? How about them not only reuniting, but doing so in the context of big business shenanigans? Wheee! Add to that concept such gifted lead performers as Bette Midler and Lily Tomlin and the only two possible questions are “How much money will this make?” and “How can this fail?” Alas, the answers to that second question are what we’re here to discuss. It’s not that Big Business is a bad movie—it’s got enough chuckles along the way, two powerhouse performances for four, a savvy blend of archetypical plot devices, and some nice late-1980s sheen. It’s just that for all of its potential, Big Business feels… oddly lacking. The constant near-misses turn into steady annoyances, the idiot plot keeps dragging long after even the most idiotic idiots have understood it, and the story doesn’t quite get to the next level with its third act. Delaying the twinset’s reunion so late in the film doesn’t just mean more frustration throughout—it means that there’s less time to see all of them react to one another and join forces. The archetypical ingredients should have led to something bigger and better than this. I mean, sure, do watch Big Business for the fun of seeing Midler and Tomlin in dual roles… but you’ll wonder why it’s not better than it is.

  • Nine to Five (1980)

    Nine to Five (1980)

    ByChristian Sauvé Movie Review

    (On Cable TV, February 2017) I recall seeing Nine to Five as a kid, but given that I only remembered the iconic theme song, I will pretend that this was like watching a new film. It certainly feels like a time capsule from the late seventies, with its broad statements about feminism, contemporary fashions and work culture at a pre-computer, barely-photocopier era. Jane Fonda is a bit dull as the intentionally blank heroine, but Lily Tomlin is very good as a cynical office manager, and it’s a treat to see Dolly Parton in her prime as a smarter-than-she-looks secretary. Their story of female empowerment and revenge against a no-good boss (sorry, “sexist, egotistical, lying, hypocritical bigot”) is good for a few chuckles, especially when the film goes off the reality rails and features three outlandish dream sequences. As for the rest, the film has aged depressingly well: it’s discouraging to realize that much of the feminist content remains effective thirty-five-years later—there’s been progress, but not that much of it, especially in the United States. The theme song hasn’t gone out of style either: “Working nine-to-five/What a way to make a living…”

  • Admission (2013)

    Admission (2013)

    ByChristian Sauvé Movie Review

    (On Cable TV, December 2013) While it’s refreshing to see a comedy avoid the usual formula for the genre, Admission risks audience sympathies by doing its own off-beat thing.  The unusual choices made by the script and director Paul Weitz (who’s done quite a bit better in the past) may be explained by it being an adaptation of a novel, but once it becomes clear that Admission is not going to play by the usual rules of film comedy, much of the film becomes predictable and so is the resignation that it will withhold a complete release.  Still, there is a lot to like here: the look at competitive college admission procedures may feel odd to this Canadian viewer, but it’s interesting, and the quasi-satiric look at academia is good for a few laughs.  As leads, Tina Fey and Paul Rudd are at their usual most charming selves, with a remarkable supporting turn by Lily Tomlin.  It’s amiable enough, and the film does try hard to be something more than a generic romantic comedy.  Still, there’s a sense of missed opportunities, of watered-down comedy and intentional misdirection here that makes it hard to wholeheartedly endorse.  Admission will certainly do as a good-enough film, but there are certainly funnier, more heartfelt choices out there.