Reviews

It's Complicated

If only It's Complicated had more than a premise and a bunch of conversations about that premise.


It's Complicated

Director: Nancy Meyers
Cast: Meryl Streep, Alec Baldwin, Steve Martin, John Krasinski, Lake Bell, Caitlin Fitzgerald, Zoe Kazan
Rated: R
Studio: Universal
Year: 2009
US date: 2009-12-25 (General release)
UK date: 2010-01-08 (General release)
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When Meryl Streep played Susan Orlean in Adaptation, it was a revelation of sorts -- the serious acting legend loosening up for fully felt comedy. Seven years later, after Mamma Mia! and now, It's Complicated, I'm starting to wonder if she can ever get the champagne back in the bottle. Streep can still play serious, of course: witness the severity of her nun in Doubt or, just as fearsome, her editrix in The Devil Wears Prada. But the once welcome sight of Streep having fun has been reduced to dithering, giggling, and general flibbergibittiness.

In other words, she fits all too well into a Nancy Meyers comedy. It's Complicated is actually one of her most tolerable recent efforts; that is to say, unlike The Holiday or Something's Gotta Give, no one on screen is called on to compliment Meyers' own supposed wit. Of course, the women still drape themselves in white sweaters, hang copper pots in their kitchens, and hold down fantasy jobs with upper-upper-middle-class incomes, so this film's progress might best be described as a baby step.

Streep's version of the Meyers protagonist is Jane, a successful baker with three grown children and a cordial relationship with her ex-husband Jake (Alec Baldwin). When their son graduates from college, Jane and Jake find themselves rekindling the old spark; soon Jake is sneaking around on his former mistress Agness (Lake Bell), now his demanding, sour wife. Jane revels in the irony a bit, but soon she feels torn, not least when she spends time with Adam (Steve Martin), her recently divorced architect.

This scenario offers the usual Meyers shtick: faux-cathartic bonding of baby boomer ladies (Jane's friends gather to support her and commiserate) and offhand disdain for the young (we're supposed to take an instant dislike to Agness, less because she's a humorless taskmaster than because she sports a tattoo -- yuck!). Yet the film is unexpectedly bearable, due mainly to Baldwin. Jake re-woos his ex like a smooth but bearish lawyer barely able to contain his zeal, as if 30 Rock's Jack Donaghy moved to the suburbs and admitted his mortality. Baldwin has obviously filled out since his matinee-idol days, but he doesn't hide from his girth -- here he flaunts it, jokes about it, owns his 50something sprawl. As a result, he looks better onscreen than ever, no longer a dashing man, but a self-aware and charming one.

For that matter, Martin and even a giggly Streep come off looking good, too, owing to what seems their own warmth and intelligence. One might wonder why on earth these three talented performers would choose to work with Meyers, last seen squandering Kate Winslet, Jack Black, Jude Law, and Cameron Diaz in the same movie. But it makes a kind of sense: Meyers not only writes parts for women, a rarity itself, but often smart, successful middle-aged women, pursued by smart, successful middle-aged men. Hence the repetition of the white sweaters and copper pots and the love-interest architect, tics that might be forgivable in a more insightful screenplay.

If only Meyers had put together more than a premise and a bunch of conversations about her premise. It's Complicated is shorter and snappier than her last few films, but it manages to flit around its central love triangle in such a way that no possible outcome seems particularly believable or satisfying. We see Jane and Jake in their passionate, halting affair, but Meyers lacks the imagination to hint at their incompatibilities; the characters just talk about conflict we never really witness or believe.

This leaves Jane looking one-dimensional, lacking any genuine attraction to Adam or tension with the ex, except as these feelings fit a formula. When Jane says that her relationship with Jake is complicated, we're supposed to take her at her word. But in a Nancy Meyers world -- glossy, soft-focused, and decidedly uncomplicated -- even trusting Meryl Streep starts to feel dubious.

4

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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