Fearless, Brilliant, and Insecure: A Year in the Life of the Great Joan Rivers

They say that to be a professional comedian requires an inherent insecurity, lingering fear of failure, and a fiery drive to succeed. This long-held assumption about comedians was confirmed in the excellent 2002 documentary "Comedian", and this theme is again explored in the terrific new documentary "Joan Rivers: A Piece of Work". Uproariously funny, remarkably candid, and surprisingly moving, this film takes us inside a year in the life of one of the world's greatest comediennes, Joan Rivers.

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What makes this documentary so refreshing and rewarding is the unfiltered honesty with which Rivers herself assesses her own life and career. She never attempts to sugarcoat her struggles. Rivers speaks readily and openly about her trials, tribulations, and tragedies. When talking about these downfalls, Rivers expresses the type of raw, authentic emotion that makes her such an endearing presence onscreen. One cannot help but walk out of this movie with a deeper appreciation and admiration for Joan Rivers.

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But make no mistake: "Joan Rivers: A Piece of Work" is in no way maudlin or patronizing in its' portrayal of Rivers, nor is the film grounded in moments of her career tumult. In fact, the overall tone of this film is one of radiant joy, a celebration of Rivers' larger-than-life personality. Rivers is unquestionably one of the greatest stand-up comedians of all-time, and she is at her comedic best in this film. Scenes of her stand-up acts, past and present, all deliver enormous laughs. Very few comics are able to mix extreme raunch and irresistible charm as seamlessly as Rivers. She is a true comedic genius.

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Now even if you do not share my appreciation for Rivers' comedy, and even if you view her as nothing more than a poster girl for plastic surgery mishaps, I strongly urge you to see "Joan Rivers: A Piece of Work". This is a wonderful documentary from Ricki Stern and Annie Sundberg, a film that is hilarious, heartfelt, and unflinching, much like Joan Rivers herself.

It Has Something To Do With Dreams

"Inception", Christopher Nolan's highly anticipated foray into the world of the subconscious, is the most maddening film of the year. Rife with breathtaking visual splendor and a fascinating premise, "Inception" is nonetheless impossible to connect to emotionally. How are we expected to respond emotionally when we have no idea what the hell is going on? There is a lot to admire in "Inception", most notably the eye-popping imagery. Ultimately, however, I was left rather emotionless and bored.

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Many great films have been extremely confusing. For instance, I love "Vanilla Sky", perhaps the most convoluted movie ever made. That movie, however, struck a chord of intense fascination, and it hit a raw emotional nerve. In comparison, "Inception" seems somewhat shallow and materialistic, more concerned with awesome special effects than compelling coherence. I knew that the movie had something to do with dreams. Other than that, I was in the dark. Maybe that was the intent of Christopher Nolan. Maybe he wanted to emphasize the confounding nature of dreams. Whatever his intention was, the end result instills relentless frustration.

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There is, though, a lot to admire about "Inception". In purely visceral terms, "Inception" is entirely transfixing. As he did in "The Dark Knight" (a MUCH better film), Christopher Nolan creates a world that is visually extraordinary. I was in awe of the folding skyscrapers and winding staircases. Furthermore, the acting here is top-notch. Leonardo DiCaprio is fantastic, throwing himself in the middle of all the chaos with remarkable conviction. Joseph Gordon-Levitt is terrific. Fresh off the heels of his outstanding work in "The Lookout" and "(500) Days of Summer", Gordon-Levitt remains one of the world's most criminally under-appreciated actors. Excellent supporting work is also turned in by Ken Watanabe, Ellen Page, Tom Bergeron, and Marion Cotillard. Page and Cotillard are especially impressive. I am in love with the supremely talented, wonderfully charming Page, and Cotillard gives her second consecutive tour-de-force, following her Oscar-winning work in "La Vie en Rose".

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The fact that the acting and imagery is so strong in "Inception" only adds to its' overall letdown. I am still a fan of Christopher Nolan, one of our most ambitious and inventive filmmakers. He has made great films in the past, and I am entirely confident that he will make great films in the future. But "Inception" does not come close to scaling the heights of its' wild ambition.

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*(I am fully aware that this review puts me at odds with the vast majority of the public. I am also aware that I am the only person on the planet who considers "Vanilla Sky" to be a masterpiece.)

Quick Takes: "Greenberg" and "Grown-Ups"

Let today's quick takes column serve as a juxtaposition between two wildly different films. On the one hand, you have an intensely fascinating, painfully funny, and uncompromising masterwork that features some of the most daring, challenging, and unique material of any film in recent years. On the other hand, you have a juvenile, disastrous big-budget groaner that goes for easy, cheap comedic targets. Extraordinarily talented people are involved in both movies. So how can one be a symbol of sharp wit and audacity, while the other a symbol of cringe-inducing formula?

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Let's start with the film that demands to be seen. "Greenberg", the sixth directorial effort from the always interesting writer-director Noah Baumbach ("The Squid and the Whale"), takes us inside the life of Roger Greenberg (Ben Stiller), an incessantly prickly, deeply insecure man who bristles at what he views as the vast emptiness of life and the ignorance of the people around him. Greenberg finds a modicum of happiness when he temporarily moves to Los Angeles to care for the house of his brother, who is out of town. There, he meets his brother's assistant Florence (Greta Gerwig), a quiet, kind-hearted soul of unique charm and beauty. Whereas most people are repulsed by Greenberg, Florence is drawn to his neurosis. The two strike an on-again, off-again romance that goes through some tumult, as both Greenberg and Florence try to adjust to the other's oddities. Their bond is hard to break, however, as each finds solace in the other amidst the turbulence of their everyday lives.


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This material makes for some of the most beautifully nuanced, endlessly fascinating scenes of any movie I've seen in recent years. Baumbach's focused direction strikes just the perfect note, and his writing is honest and darkly funny, sometimes painfully so. Ben Stiller is a revelation, giving the type of gritty performance that we have rarely seen from him. It is a tremendous piece of acting, the best work that Stiller has ever done. And Greta Gerwig is also outstanding. A heretofore unknown name, Gerwig is bound to dazzle us with her remarkable talent in the years to come. Stiller and Gerwig work perfectly together, and both should receive Oscar consideration. And so should this movie. Now out on DVD, "Greenberg" is a wonderful gem.


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From one of the best movies of 2010 to one of the worst, let's shift our focus to "Grown-Ups". The latest entry in the Adam Sandler filmography has a truly great cast, but it is such an enormous waste of talent. Chris Rock is one of the funniest people on the planet, but the screenplay (co-written by Sandler) here has him saying and doing absolutely nothing of comedic value. Adam Sandler and David Spade are restricted to making lame jokes about sex and flatulence, Kevin James is simply the victim of some truly tired physical shtick, and Rob Schneider......well, he has never been funny, so his futility in this movie should not come as a surprise. And what are Salma Hayek and Maria Bello, two magnificent actresses, doing in this mess?!


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Despite this misfire, I remain a fan of Adam Sandler. He always comes across as funny and charming in his talk-show appearances. Of his commercial comedies, I enjoy "Happy Gilmore" and "50 First Dates", and I love "The Wedding Singer". In his best films ("Spanglish"; "Punch-Drunk Love"; "Funny People"), Sandler has also displayed some serious acting chops. But in the Sandler filmography, "Grown-Ups" is in the same lowly category as "Billy Madison", "The Waterboy", "Mr. Deeds", "Anger Management", and "Little Nicky", all very bad films that rely far too heavily on third-grade humor for easy laughs.

As Andy Heads Off to College, What Will Happen to the Toys?: Another Masterpiece From Pixar

At a time in which many animated movies are pandering to the kids with lazy jokes about flatulence and so on, Pixar remains a remarkable symbol of greatness and intelligence. Over the course of the last few years, Pixar has given us "Cars", "WALL-E", and "Up", three wonderful films that will be remembered for years to come. And now they have delivered "Toy Story 3", the third and final installment in the magnificent "Toy Story" franchise. And once again, Pixar has struck gold. This is one of the best movies of the year, a funny, engaging, and heartwarming adventure.

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"Toy Story 3" takes place as Andy prepares to take off for college. Thus, he has to decide which of his beloved toys he wants to take with him, and which toys he wants to leave behind. For Woody, Buzz, and the rest of the gang, this ordeal is immensely worrisome. When Andy decides to take Woody to college and leave the rest behind, the toys' response is one of dejection. Even Woody is sad at the prospects of leaving his friends behind. The letdown of the toys is at first only momentary, however, as they become enthralled at the seemingly ideal environment of their new home: the local day care center. Much to their fright and dismay, however, the day care center turns out to be a horrible place in which immature kids toss around the toys with reckless disregard and abandon. Making matters worse, the day care center is ruled by a selfish, controlling toy bear named Lotso. Thus, Woody and the gang must try and escape, and get back to Andy before it is too late.

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This premise is so exciting and compelling that at times I felt as if I was watching a first-rate action thriller. In addition to being fast and energetic, however, "Toy Story 3" retains the loving spirit and charm of the first two films. Director Lee Unkrich and screenwriter Michael Arndt ("Little Miss Sunshine") deserve heaps of praise for the remarkable manner in which they blend scenes of kinetic energy with scenes of quiet nuance. By the end of the film, I was on the verge of tears. You can't help but get swept up in the beautiful emotions of this beautiful film.


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Once again, the animation and voice-over acting is top-notch. The colors jump off the screen, creating a magical experience for the viewer. Tom Hanks, Tim Allen, Joan Cusack, Don Rickles, Estelle Harris, John Ratzenberger, Wallace Shawn, Jeff Pidgeon, Jodi Benson, R. Lee Ermey, John Morris, and Laurie Metcalf all bring delightful heart and energy to the proceedings. And it is a hoot to listen to the very funny Michael Keaton as Barbie's soul-mate, Ken.

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If there is justice in the world, "Toy Story 3" will receive a Best Picture nomination at the end of the year. Smart, funny, and powerful, "Toy Story 3" is a joyous ode to the magic of youth.

Quick Takes: The A-Team, Shutter Island, It's Complicated

Martin Scorsese is my favorite filmmaker of all-time. From "Taxi Driver" to "Raging Bull" to "GoodFellas" to "Casino" to "The Departed", Scorsese has crafted some of the greatest movies ever made. But I am sad to say that "Shutter Island" is the worst film that he has ever constructed. Scorsese's first foray into the thriller realm, 1991's "Cape Fear", was a masterful exercise in brooding mood and atmosphere, a frighteningly scary gem that leaves a lasting impact long after the final credits have rolled. "Shutter Island", on the other hand, is a plodding and, frankly, quite boring misfire that plays more like a tedious melodrama than an actual thriller. Leonardo DiCaprio, Mark Ruffalo, Ben Kingsley, and Michelle Williams are all outstanding actors, but astonishingly, they all give bad performances, emoting at every turn. And the shock ending feels ripped from a bad M. Night Shymalan movie. "Shutter Island" is proof that even the great ones make bad films once in a while.

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The A-Team? More like the D-Team. "The A-Team" is a loud, interminable, and mostly incoherent mess that is nothing more than a series of lazy CGI action sequences. This bomb is not the fault of the cast---Liam Neeson, Bradley Cooper, Jessica Biel, Sharlto Copley, and newcomer Quinton "Rampage" Jackson all seem at ease onscreen---but rather the fault of a confusing screenplay and the insufferably chaotic direction of Joe Carnahan. Carnahan throws a ridiculous amount of flying objects at the viewer, and the result is a Hollywood blockbuster that you should avoid at all cost.

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I have saved the best for last. "It's Complicated", the latest romantic comedy from the superb writer-director Nancy Meyers, is a wonderful, richly satisfying slice of life that mines some excellent humor from truly authentic moments. The characters in this movie behave like mature adults, and---how refreshing is that! As she showed in the great 2003 film "Something's Gotta Give", Nancy Meyers is an extraordinary writer who has a keen sense of how relationships really work. The masterminds behind such trainwrecks as "What Happens in Vegas", "When in Rome", "Leap Year", "A Lot Like Love", etc. would be wise to study the intelligent manner in which Meyers treats her characters. Meyers is also aided by the strength of her amazing actors. It is a joy to watch Meryl Streep, Alec Baldwin, and Steve Martin---three amazing performers---share the screen. I love this movie.