CHiPS (2017)

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Aka CHiPS:  Law and Disorder. If you haven’t been fucking your wife in over a year then somebody else has! Jon Baker (writer/director Dax Shepard) and Frank ‘Ponch’ Poncherello (Michael Peña) have just joined the California Highway Patrol in Los Angeles, but for very different reasons. Baker is a former pro-motorbike rider who’s trying to put his life and marriage to Karen (Kristen Bell aka Mrs Shepard) back together. He’s utterly hopeless at everything else and has to score in the top 10% in citations amongst other criteria just to keep his head above water.  Poncherello is a cocky undercover FBI agent who’s investigating a multimillion dollar armoured car heist that may be an inside job. Forced to work together, the inexperienced rookie and hardened veteran begin clashing instead of clicking while trying to nab the bad guys. Baker is phobic and allergic with a history of extraordinary injuries and whose motorsickle skills are literally lifesaving. Ponch is a sex maniac who has a history of shooting at his partners to save thugs. They literally complete each other  … In contrast with a lot of quasi-parodic TV show sendups this adaptation of the beloved show actually has a life of its own – deftly utilising the contrasting buddy structure to tackle racism, homophobia, marriage, locker room behaviour and sex in the most outrageously downbeat and self-deprecating way possible which can only be a good thing and it’s relentlessly good-natured even when the junkie son of villainous corrupt cop Ray Kurtz  (Vincent D’Onofrio) is being decapitated. Even so, it still revels in sexism but it’s hard to dislike.  Peña and Shepard play extremely well off each other and with Mrs S in the cast alongside another Veronica Mars alum (Ryan Hansen) in the large ensemble plus Jane Kaczmarek as a randy Captain and Maya Rudolph (uncredited) as a recruiter there’s a lot of fun to be had.  There’s fantastic use of Los Angeles as location and overall it’s an enjoyable if lowbrow entertainment. Shepard can act and write and direct. Triple threat! Good to see Erik Estrada in the concluding scene. Memories are made of this… 

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Bob & Carol & Ted & Alice (1969)

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Comedian turned screenwriter (I Love You Alice B. Toklas) Paul Mazursky spent a weekend at the Esalen Institute with his wife and wound up writing a five-page treatment with Larry Tucker (they wrote the pilot for The Monkees) about a filmmaker and his wife whose lives are changed by just such an experience and what happens between them and their friends when they put what they’ve learned there into practice. This elegant satire of New Age mores, the counterculture and late Sixties open-mindedness hasn’t lost its power, its humour or indeed its touching qualities. The casting is everything:  Natalie Wood and Robert Culp as the gullible couple; and Elliott Gould and Dyan Cannon as their friends who suffer their own psychological crises as a result of too much information, are all fantastic;  it’s impossible to pick between them since each conveys the truth of the situation in compelling fashion.  Each performs a perfect mix of comedy and drama, specific, controlled and authentic. There are some truly stomach-churning scenes of oversharing. What a directing debut for Mazursky! And it all ends in highly ironic fashion to the sounds of Jackie DeShannon warbling What The World Needs Now is Love!