For Your Consideration

I don't have much to say about "For Your Consideration," except that I liked it, in spite of the negative reviews it received, and I wanted to say that here in case other viewers, like me, put off viewing it because the reviews put us off.

"For Your Consideration" is a small, brief (86 minutes), sweet, funny movie. It's not as laugh-out-loud funny as "Best in Show" (few movies are) but I liked it better than "Mighty Wind," which I also liked.

Christopher Guest's usual crew is in its usual fine form. Catherine O'Hara is funny in a whole new way, with at least one scene that is quite poignant and unforgettable, at least to struggling artists. John Michael Higgins does a very funny William H. Macy-like character. Jane Lynch is dead-on as an "Entertainment Tonight" style tabloid "journalist."

I even liked the ventriloquist Nina Conti -- and I normally run from the room when a ventriloquist comes on.

Having just searched through 137 IMDb comments (whew!) of Guest's film I was quite surprised that nobody noticed the central in-joke at work here, one that spoiled an otherwise mildly amusing effort for me. I guess you have to be a film industry insider, or at least have a working knowledge of film history, to analyze these seemingly transparent recent movies, and everyone struck out.

The central character, played so winningly by Catherine O'Hara, is obviously based on a real-life actress and her Oscar campaign. The real Hollywood actors, namely the typical Academy members who make up the Oscar voting population that selects the nominees annually, will instantly recognize who I'm referring to, even though those intrepid IMDb addicts dropped the ball. The answer is plainly Sally Kirkland, a talented character actress who indeed was nominated for best actress in 1987 for her performance in the indie film ANNA. I knew Sally quite well at the time, and she was completely sincere in the campaign she launched, unsuccessfully, to try and win the coveted Oscar, losing out to Cher for MOONSTRUCK that year. Her campaigning predated what has become merely customary, as the Weinsteins later perfected the art of actively manipulating Academy voters to get annual nominations and wins for their various Miramax (subsequently TWC) films, right up through somehow managing a Penelope Cruz nom for "Nine".

Sally's large breast implants are an easy target for O'Hara here, with Willard's funny line about her décolletage after interviewing her post-Oscar snub: "Now I've seen the Grand Canyon". For the uninitiated, if you click on Sally's IMDb page you will see how her face in the '80s/'90s closely resembles the look O'Hara captured in her impressive bit of "frozen visage" acting of the final reels of Guest's satire. I shudder to think of how Nicole Kidman, Jessica Lange and Meg Ryan will fare as potential future targets of the merciless Guest/O'Hara team.

We all know from numerous lectures by the latter-day greats like Steve Martin that "comedy isn't pretty". But I was disappointed at Guest and company taking potshots at Ms. Kirkland. She is a sincere artist and while everyone in the entertainment world is out there available for ridicule I was taken aback by the somewhat underhanded, infra dig lampooning here. Knowing Sally I'm sure she took it in her stride when FOR YOUR CONSIDERATION was released, but no one likes to be mocked. Even masochists would prefer some old-fashioned corporal punishment to being humiliated in front of their peers.

As an aside, I admire the talent of these comedy geniuses, including Levy and Guest. But I think a telling anecdote of an incident I witnessed long ago shows that many of them have feet of clay. As a film critic I was attending the press screening for about 50 people at Magno on Times Square in NYC in 1980 for the new film THE FIRST DEADLY SIN, starring Frank Sinatra and Faye Dunaway. The film when released soon after was not successful with critics or audiences and proved to be Frank's final big-screen role, in fact his only movie role after 1970. There is an etiquette at press screenings, but not just critics are invited. Sitting near me was Harry Shearer (a key member of Guest's stock company, and of course immortal from his THIS IS SPINAL TAP participation), whom I recognized immediately from his Saturday NIGHT LIVE appearances plus a friend who I couldn't place. Starting a few minutes into the Sinatra film, which was a gritty, NYC-set thriller, the two of them launched into a series of catcalls and shout-out jokey remarks at the expense of the movie that would have made the yet-to-be-invented stars of MYSTERY SCIENCE THEATRE 3000 proud, or fit well within the current drag queen-led mocking of movies that goes on weekly at my local Chelsea cinema. I even shushed them (!) to no avail. This uncouth behavior stuck with me, and always made me wonder about the sincerity of comics at the level of talent, which I readily concede, of a Shearer, or a Second City denizen. I know contemporary comedians famously study people they see on the street, subway, etc. in ordinary life to build material, but the disrespectful attitude of Shearer & bud toward Sinatra, Dunaway and their earnest (if not at the top of their game) movie collaborators appalled me no end. It's not surprising that poor Faye met a similar fate the following year with the release of MOMMIE DEAREST, which stands as perhaps the most-ridiculed and campy of modern Hollywood releases.

Sooner or later, it was bound to happen. In an impressive string of wonderful mockumentary farces over the past few years, guiding lights Christopher Guest and Eugene Levy, and their brilliant comedic acting ensemble, have joyfully savaged the self-important cultural "worlds" of small town amateur theater ("Waiting for Guffman"), dog shows ("Best in Show") and folk music ("A Mighty Wind").

But a winning formula can't go on forever unchanged, nor should we expect it to. Inevitably, the group have hit a bump in the road with their latest film, "For Your Consideration," a send-up of Hollywood movie making and the assorted vanities of movie makers. Not that it's bad. But compared to those earlier works, it isn't inspired; it doesn't grab you with its efforts to lampoon; and the performances of the actors - always uniformly of a high caliber in most of their movies – is highly variable in this new movie. Perhaps the theme hits too close to home: it's hard to gain the distance necessary to properly ridicule your own ethos, your own cultural world. Or maybe it's just that the recipe Guest and Levy have used to such delightful advantage has just gotten old, for viewers and for Guest's company.

The plot, for what it's worth, concerns a film within a film: the making of a new movie, the ethnically freighted "Home for Purim," which is later rewritten and retitled "Home for Thanksgiving" to broaden its commercial box office appeal. All the stereotypes one expects are on hand: the avaricious executive producers; the harried director; the screenwriters, pained by the incremental decimation of their work; the aging stars in decline; the young up and comings; the vain chase after that holiest of grails: an Oscar, the hangers on – the parasitic, disingenuous talent agent, talk show hosts, film critics and entertainment reporters. They're all here.

Parker Posey (young actress possibly on the way up), Catherine O'Hara ((veteran actress on the way out), Jennifer Coolidge (ditzy producer), and Eugene Levy (actors' agent) provide decent turns but none of these superb talents gives a truly inspired performance here. Harry Shearer is better as a long-suffering actor who is glad enough just to star in a feature film after years of making commercials, Oscar or no Oscar. But the comedic scene stealers in this movie are three pairs of actors who play off each other to wonderful effect: Fred Willard and Jane Lynch as a TV entertainment reporting duo, Bob Balaban and Michael McKean as the beleaguered screenwriters, and Don Lake and Michael Hitchcock as Siskel-Ebert style TV critics. There are several competent cameo contributors as well, the best of whom is Carrie Aizley, a movie journalist.

This is decent fare, but I think Guest and Levy need to re-imagine their formula for successful farce. I never thought the day would come when I would regard a comedy written by David Mamet as superior to work by Guest & Levy, but here's a tip: if you want to see a good send-up of movie making, try Mamet's 2000 film, "State and Main." My grades: 6.5/10 (low B) (Seen on 11/15/06)

I love this acting troupe. They are a well tuned machine. Though this movie is perhaps a little "inside" of the Hollywood Movie Industry, and the publicity machine on which it is driven, all of the regulars and the new faces invited into the fold give wonderful performances and play their parts with just the right amount of camp with their tongues in their cheeks. I mean after all. don't many of us WANT to know about the inside of the industry? The duo entertainment reporters ( Jane Lynch and Fred Willard) are hilarious and Catherine O'hara's performance is masterful. (do I hear Oscar Buzzzz?) But that is not to say any of the cast's performances were not noteworthy. My whole family had a great time. This is not meant to be a Great panoramic epic, this is good clean hilarity from some of our favorite actors.

If you are a fan of "Best in Show", Waiting for Guffman etc, or you just want to get to know these gifted actors, DO go see this film, nap before you go so you can be happy and rested and hear the inside jokes that spark the guffaws heard throughout the theater. Zaina

I'm also surprised by some of the negative commentary around 'For your Consideration'. The satire seemed to me to be to be quite precise - particularly in its analysis of the average actor's life - which is a lot more like "For Your Consideration" or Ricky Gervais's brilliant "The Extras" than anything you're likely to see on Entertainment Tonight that is for sure.

Having studied method acting over several years (a long time ago), and having worked as an extra at different low points in my life (never ever again), I have to say that I laughed till I cried. Without giving the ending away,Marilyn Hacke's closing scene is so on the money - what a cracker!

Acting, actor training and film are all open to exploitation of the gullible because so many people are desperate to be part of it; consequently it's an area ripe for satire. For me, this was more on the money than "Waiting for Guffman" although I enjoyed that too. For your consideration has sharper edges. I think it's great that Ricky Gervais performs in this film. Gervaise is such an 'English' comic whilst Guest's sensibilities are very American - but in the shared fascination with human idiosyncracies, banalities and foibles, they both create a very contemporary form of the comedy of manners.