«Game Change» is patterned on redemptive Frank Capra and Preston Sturges archetypes (a dash of «Mrs. Palin Goes to Washington» and maybe quite a lot of «Hail, the Conquering Heroine» — minus the hero's moral torment over misrepresenting himself), even if
the screwball energy is missing.
Like Frances Ha on Adderall, Mistress America finds Baumbach working with a manic
screwball energy that has more in common with Preston Sturges or Howard Hawks than it does any of his previous films.
Arianda took Broadway by storm several years ago in a revival of the 1940s comedy «Born Yesterday,» and she lends «Goliath» a similar kind of
screwball energy.
Frances Ha on Adderall, Mistress America finds Baumbach working with a manic
screwball energy that has more in common with Preston Sturges or Howard Hawks than it does any of his previous films.
Not exact matches
What it really is is a
screwball comedy with a black - hearted center, an
energy extremely difficult to capture and maintain, but Healy — as actor and as director — manages to do so.
Reminiscent in tone to classic dark
screwball comedies like Ruthless People, director Seth Gordon (Four Christmases, The King of Kong) succeeds by keeping the
energy high, the actors flowing naturally with off - the - cuff reactions, and by keeping the tone light, the performances spot on, and the quips lightning - fast throughout, even during the pitch - black comedy moments.
But what separates «Mistress America» from Baumbach's other witty and sharp observational works about (what some people see as) White People Problems, is a madcap
screwball comedy
energy and a nostalgic, all - things - are - possible «80s sheen (bolstered by a fantastic dreamy synth score by Dean & Britta).