Ewan McGregor’s career never took off the way it should have: “Trainspotting” and “Moulin Rouge!” should have put him in orbit, but those “Star Wars” prequels – with McGregor lost amid CGI overload – may have spoiled Hollywood on him, or, actually, him on Hollywood. But I just caught two films with the Scotsman as the co-lead. By sheer coincidence, they both deal with gay issues – is McGregor going niche? – that would send bigot GOPers planning constitutional bans.
The real-life premise of Mike Mills film “Beginners”: Just after his mother died of cancer, his 75-year-old father came out, leaping head first into California’s gay culture before dying himself of cancer. Here, Mike is dubbed Owen and played by McGregor. Christopher Plummer is the dad. The film is moody, artsy and contains short diagrams where, say, multiplying coins equate growing cancer. It focuses on Owen recalling his emotionally cold childhood and then his 38-year-old self as he falls for a French actress (Melanie Laurent of “Inglorious Basterds”). Owen’s woes are not as compelling as daddy Plummer, the latter giving a shining performance as a man who seemingly has found the secrets to all of life’s happiness just as the ax falls. There’s anger missing here. Isn’t Owen allowed to be pissed? Dad was never home, out having dalliances. Even if dad was with women, that has to create a lasting deficit. More so, one wonders how Owen and his gal eat and pay rent, as he is a failure on the job and she never seems to work. A dog with subtitled dialogue is way too cute a gimmick.
B
McGregor is the Phillip Morris of “I Love You Phillip Morris” which has nothing to do with the cigarette maker, but instead focuses on serial con artist Steven Jay Russell (Jim Carrey). Russell starts out as a married father in Virginia Beach and ends up in prison for credit card fraud, embezzlement, theft, malpractice and numerous prison breaks, one by faking his own death. It’s in prison where Russell meets Morris, and so, yes, this is a Jim Carrey rom-com-drama … behind bars, way queer, and based on a true story. Directors/writers Glenn Ficarra and John Requa tell us so three times in the credits. “Morris” is funny at the start, but revels in mincing gay stereotypes and feels wildly contradictory, and overly silly. Carey’s “Liar, Liar” smirk made me wonder how anyone could take him seriously. He steam rolls McGregor, who misplays as a fragile daisy. Stabs at drama – an AIDS death – are forced and unearned. Critics loved this, a con all its own.
C+
