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The In-Laws

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[PL / ENG] "Teściowie 2" / "The In-Laws 2" [2023]@asia-pl142d
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3 more reviews

  1. [PL / ENG] "Teściowie" / "The In-Laws" [2021]@asia-pl144d

    No, przyznam, że całkiem całkiem całkiem było to niezłe. Gdzieś mi tak o uszy ostatnio w rozmowie obiło się, że film "Teściowie" jest fajny, postanowiłam więc go poszukać, szczerze mówiąc kompletnie nie wiedząc czego szukam. Sądziłam, że komedii rodem z USA, a to nasza polska produkcja, proszę. Naprawdę po latach filmowej izolacji wychodzę spod kamienia.

    Well, I admit, it was pretty good. I recently heard in conversation that the movie "The In-Laws" was good, so I decided to look it up, honestly not knowing what I was looking for. I thought it was a comedy from the US, but this is a Polish production. After years of cinematic isolation, I'm really coming out from under a rock.

    Film to w zasadzie wyśmienity spektakl aktorski, w którym królowe są dwie: rewelacyjne Ostaszewska i Kuna. Choć przyznać trzeba, że Dorociński oraz Woronowicz, grający ich małżonków, również dają radę! Akcja filmu dzieje się podczas przyjęcia weselnego, które ma miejsce po odwołanym ślubie. Pary młodej nie ma, bo oboje przeżywają trudne chwile w samotności. Rodzice młodej pary postanowili ugościć zaproszoną rodzinę, co oznacza, że rzecz jasna dojdzie do ich wzajemnej konfrontacji. Jest to film dialogów przede wszystkim, a te są świetne. Ogląda się ten film znakomicie.

    The film is essentially a superb performance, with two queens: the brilliant Ostaszewska and Kuna. Although it must be admitted that Dorociński and Woronowicz, playing their spouses, also deliver! The film takes place during a wedding reception following a canceled wedding. The bride and groom are absent, both going through difficult times alone. The bride and groom's parents have decided to host the invited family, which naturally means there will be a confrontation between them. This is a film of dialogue above all, and the dialogue is excellent. It's a delight to watch.

    Są też dwie kolejne części, które rzecz jasna nadrobię, jak będę w stanie :)

    There are also two more parts, which I will of course catch up on when I can :)


    pics: filmweb, hbomax


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  2. Film Review: The In-Laws (2003)@drax926d

    (source: tmdb.org)

    If you watch a comedy in a theatre and you can’t hear anyone laughing, that might be a good indicator that a film isn’t particularly good. The author of this review had such experience while watching The In-Laws, 2003 film directed by Andrew Fleming.

    The film represented remake of popular 1979 comedy starring Peter Falk and Alan Arkin. The new version begins when mild-mannered podiatrist Jerry Peyser (played by Albert Brooks) prepares for the wedding of his daughter Melissa (played by Lindsay Sloane) to Mark Tobias (played by Ryan Reynolds). Mark’s father Steve (played by Michael Douglas) happens to be undercover CIA agent. Mark wants to sell Russian nuclear submarine to powerful French arms smuggler Jean-Pierre Thibodoux (played by David Suchet) in order to expose him and bring him down. The plan would involve Jerry who initially doesn’t have a clue what Steve does for a living and, as such, could provide perfect cover. This results in series of adventures all over the globe, during which Steve and Jerry are pursued by FBI that suspects Steve of going rogue.

    The In-Laws represented one of many Hollywood remakes that relied less on brilliance of original concept and more on feelings of nostalgia among original viewers and even more among Boomer film studio executives greenlighting those projects. Additional problem for the The In-Laws is that 1979 film wasn’t that good and that had worked in that film had worked because of historic context, namely deep cynicism of 1970s public towards CIA and its and dark shenanigans and economic troubles in inflation-plagued America. This context is completely lost in new version and the inevitable comparisons between two films also point towards Douglas and Brooks being much inferior to original “buddy buddy” pairing of popular comedians Falk and Arkin. While it would be unfair to say that Douglas and Brooks lack comedic talent, they aren’t served well by inept and unimaginative script that consists of mostly unfunny jokes that force director Fleming to compensate lack of humour with even less inspired action scenes. The single bright spot in this underwhelming and disappointing film belongs to David Suchet who plays over-the-top gay villain who also happens to be French, a detail that was hardly accidental during times when Hollywood joined the rest of America in chauvinistic hysteria during Iraq invasion and branded the French as new villains because their government had refused to participate in the effort. With Boomers unlikely to visit theatres, The In-Laws predictably turned into box office flop, which is the fate most of today’s audience would agree with. Apart from historians and scholars interested in the ways US foreign policy reflected in the content of Hollywood films, hardly anyone should bother to watch this disappointment.

    RATING: 2/10 (-)

    _

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  3. Film Review: The In-Laws (1979)@drax927d

    (source: tmdb.org)

    Until recently, inflation was thing of the past for young generations in the West, a concept as abstract as world war. In 1970s America, however, it was quite different matter. Inflation was reality so palpable and overwhelming that it found way to serve as element of plot in Hollywood films, even comedies. One of those was The In-Laws, 1979 film directed by Arthur Hiller.

    Protagonist is Sheldon Kornpett (played by Alan Arkin), dentist who has successful practice in Manhattan and whose daughter Barbara (played by Penny Peyser) is just about marry Tommy Ricardo (played by Michael Lembeck). Sheldon is introduced to Tommy’s father Vince (played by Peter Falk), businessman whose bizarre and not particularly convincing tales about what he does for living makes Sheldon suspicious up to a point that he contemplates calling off the wedding. He nevertheless agrees to run small errand for Vince, which leads to some unpleasant people chasing and shooting him on the streets of New York. Vince rescues him and explains that he actually works for CIA, and that he had stolen engraving plates from US Mint. Those plates are sought by group of indebted Latin Americans who want to print US dollars in order to pay off debts, which would lead to catastrophic inflation in USA and the rest of the world. Despite not wanting to do anything with Vince, Sheldon ultimately joins him to the trip to Latin American island of Tijada.

    The In-Laws is one of the more successful films of its time, both among the critics and at the box office. It won critics by pandering to left-wing and anti-establishment that were prevalent in 1970s, best seen in its mocking of CIA as organisation full of malevolent, corrupt or simply crazy people, while doing the same to tinpot right-wing dictators that were at the time running most of Latin America with US government’s blessing. Ordinary audience, unburdened by complicated politics, was brought to theatres by presence of Peter Falk, comic actor who, thanks to Columbo, enjoyed zenith of his popularity. Falk plays his role very well and there is excellent “buddy buddy” dynamic between his and Alan Arkin’s character. Falk plays crazy part of the duo, but does it with deadpan delivery, while Arkin, who plays a straight man, often becomes hysterical.

    Many critics praised Andrew Bergman, screenwriter best known for his work with Mel Brooks on Blazing Saddles, for his work. However, it is his script that is the weakest element of the film. While there are some jokes that are funny, and Falk and Arkin often make funny those that are otherwise not, too many times there is simply not enough humour in the film. Director Arthur Hiller, best known for his work on Lover Story, at times tries to fill the blanks with action, but those scenes are uninspiring and make The In-Laws look cheap. Another important issue is the pacing. It takes some time to film to catch the proper rhythm and it happens too late, when the character of half-crazed General Garcia, played by very inspired Richard Libertini, is introduced. Today’s audience would have many difficulties understanding the film with its references to 1950s coups in Central America and JFK presidency. It is disappointing film, but it looks much better than its 2003 remake starring Michael Douglas and Albert Brooks.

    RATING: 4/10 (+)

    _

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