Amy Sedaris

The Mandalorian (2019) s01e05 – The Gunslinger

So series executive producer Dave Filoni, who apparently unmemorably directed the first episode, is back here. He’s writing too, making it the first “Mandalorian” not written by series creator Jon Favreau. So The Gunslinger doesn’t feel like Favreau playing with his Return of the Jedi Kenner toys, instead it now does feel like someone playing their Star Wars Roleplaying Game campaign only not really because a roleplaying campaign is probably better written. Filoni’s script is truly godawful. His direction is terrible too. It starts with a really stupid space battle for people who hated them making sense in Episode VIII, then moves on to Tatooine, where Pedro Pascal leaves Baby Yoda in the ship to go and try to find work. Except mechanic Amy Sedaris (who’s likable but bad) finds Baby Yoda while she’s working on the ship with her CGI prequel droids; Filoni’s a prequel guy. He really doesn’t get how to do the original movie Tatooine homages, but then he also doesn’t get how to do any action scenes either… okay, hang on. I’m ahead of myself.

So Pascal goes to the cantina where it’d probably be no worse if two aliens were arguing over who shot first and teams up with truly bad actor Jake Cannavale. Yes, Cannavale (as what Filoni seems to think we’re going to buy as a Han Solo-type) has terrible dialogue, a dumb story arc, lousy direction, all of it, but he’s really, really, really, really bad. He’s bad enough you stop taking the show about the adorable little hairless Mogwai and Jon Favreau’s custom repainted Boba Fett figure seriously.

If Cannavale had been on the first episode… I don’t know I would’ve made it to episode four. He’s even worse than Filoni’s script, which is saying a lot.

This episode also has Ming-Na Wen. She’s Cannavale and Pascal’s bounty, a superior assassin or something. You wouldn’t know it from her fight scene with literal first-time bounty hunter Cannavale, who holds his own in a terribly choreographed and directed fist fight until Pascal can get there to put the show out of its fight scene misery.

Is Wen any good? No. She’s not worse than the script though. Or Filoni’s direction.

There are some other Tatooine references in the episode, they’re all terrible. Some are worse than others. Filoni can’t even manage an obvious gag. He’s so bad. He also doesn’t realize the whole point of the show is Baby Yoda, which is exceptionally concerning.

And the speed-bike compositors do a truly awful job. Bring out the Vaseline.

Puss in Boots (2011, Chris Miller)

CG animation has, much to my surprise, gotten to the point of disquieting reality. In Puss in Boots, Zach Galifianakis’s Humpty Dumpty has such real facial expressions, it makes the entire experience uncomfortable. The face, on the alien form, is too real.

Galifianakis is Puss’s weakest casting choice. In fact, he might be the only weak casting choice. He doesn’t bring any, you know, acting to the part. He’s reading lines, maybe exaggerating his tone occasionally, but he’s not acting. Everyone else is good. Except Amy Sedaris, for the same reason.

Antonio Banderas is great—but Puss is kind of perfect… it’s a cat as Zorro. Who better to do the performance than Zorro? Salma Hayek, Billy Bob Thornton, both are strong.

The film’s constantly delightful, which seems to be everyone’s goal, so picking at it doesn’t seem fruitful. But it would also be difficult.

My biggest gripe, besides the two weak performances (which aren’t bad, just not up to the film’s standard), has to do with scale. When the cast goes from the spaghetti Western setting to fairy tale setting, the two cats and the giant egg-man aren’t around any recognizable size landmarks. In fact, they’re in a giant’s castle… so the scale gets disconcerting.

But it’s a very small gripe. Puss holds it together for a difficult finish too.

By not failing the narrative, director Miller succeeds. Though the lead and the amazing CG help.

Puss in Boots is a very charming, just smart enough amusement.



Directed by Chris Miller; screenplay by Tom Wheeler, based on a story by Brian Lynch, Will Davies and Wheeler and a character created by Charles Perrault; edited by Eric Dapkewicz; music by Henry Jackman; production designer, Guillaume Aretos; produced by Joe M. Aguilar and Latifa Ouaou; released by Dreamworks Animation.

Starring Antonio Banderas (Puss in Boots), Salma Hayek (Kitty Softpaws), Zach Galifianakis (Humpty Alexander Dumpty), Billy Bob Thornton (Jack), Amy Sedaris (Jill), Constance Marie (Imelda) and Guillermo del Toro (Comandate).

Dedication (2007, Justin Theroux)

Is it possible to use The Doors’ “The End” without it recalling Apocalypse Now? Even if it’s just the opening snippet.

No, it’s not. Especially not when you do it twice like Theroux does in Dedication.

But Theroux harkening back to great films (or, hey, if he even harkened back to a mediocre one) would be such a vast improvement over what he does, which is hard to describe. It’s kind of like an insincere rip-off of Darren Aronofsky (Theroux doesn’t fully commit to the high contrast shots or the jump cuts, only using them for transitions), with a terrible script and a lot better actors than the film deserves. Tom Wilkinson is, admittedly, hacking it out here, but he’s very good at hacking it out. Bob Balaban, essentially playing an R-rated version of his “Seinfeld” character, is fine.

As for Mandy Moore, she’s one of the worst actresses I’ve ever had the displeasure of seeing perform. She’s probably the worst I’ve ever seen in a film given a theatrical release (since the advent of direct-to-video). Indescribable.

And Billy Crudup, long the best actor not working? Well, that title’s certainly no longer applicable. It’s not so much his fault–it’s the awful script. Crudup’s character is probably an undiagnosed, certainly unmedicated schizophrenic who the viewer is supposed to find hilarious at some times and tragic at others–when all the guy really needs is some therapy and a lot of meds.

Theroux has obviously watched a bunch of movies preparing for his directorial debut but he must have watched bad ones (obviously, given the Aronofsky references). His framing is all slightly off, which I think is supposed to make Dedication look “cool,” but instead it looks incompetent.

I’d been looking forward to Dedication–Crudup in a lead, the story kind of sounded like George Sanders in Rebecca, only modernized–but it’s utter crap. Oddly though, given how bad Crudup’s movies of the last six or seven years have been… seeing him in such an excremental waste of time is unsurprising.



Directed by Justin Theroux; written by David Bromberg; director of photography, Stephen Kazmierski; edited by Andy Keir; music by Ed Shearmur; production designer, Teresa Mastropierro; produced by Celine Rattray, Daniela Taplin Lundberg and Galt Niederhoffer; released by the Weinstein Company.

Starring Billy Crudup (Henry Roth), Mandy Moore (Lucy Riley), Tom Wilkinson (Rudy Holt), Martin Freeman (Jeremy), Bob Balaban (Mr. Planck), Dianne Wiest (Carol), Christine Taylor (Allison), Amy Sedaris (Sue) and Bobby Cannavale (Don).

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