THE FOUNDER – DULL BIOPIC OF THE BUSINESS VULTURE RAY KROC IN A WASTE OF KEATON’S TALENTS

SHORT TAKE:

Dry and uninvolving biopic, despite Michael Keaton's efforts, about Ray Kroc, the avaricious business predator, who co-opted then outsted the McDonald brothers from their own creation.

WHO SHOULD WATCH:

Limited to adults and older teens only because some language and Kroc's lack of interpersonal and business ethics. The mechaniations of enterprise – good and bad – might be interesting to business and history students.

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LONG TAKE:

If you can not be a good example be a horrible warning. I'm not sure which one the makers of The Founder intended it to be.

The Founder is a 2016 biopic about Ray Kroc, the man who made McDonald's a multi-bazillion dollar enterprise and its distinct Golden Arches logo one of the most recognizable symbols on (literally) the entire planet.

McDonald's was a singular hamburger restaurant – one of, if not the first, walk-up, designed by the McDonald brothers, Maurice and Richard (John Carroll Lynch of Jackie – see my review of Jackie here – and Nick Offerman from Parks and Recreation). Their's was a unique concept, carefully designed and laid out, innovative and revoluitionary in the Drive-In-car hop-predominated culture of America in the 1950's. Richard and Maurice, had created this style as a money saver – no car hops, broken glassware, or dallying hoodlums. People stood in line to get great tasting burgers, in throw away packaging, in a clean family friendly environment. What the McDonald brothers saw as the fulfillment of a lifelong dream, Ray Kroc saw as a golden goose just waiting to be plucked.

SPOILERS

The film starts with Ray as an unsuccessful multi-spindle milkshake salesman who happens upon this singular successful enterprise and recognizes the brilliant business model for what it is. The McDonald brothers think "small" but Ray believes in BIG. And the McDonald brothers don't know to whom they are linking their futures when they sign a contract with Ray to establish franchises. Ray's personal motto is "Persistence" and he uses his formidable variation on it to: slowly negotiate, maneuver and leverage their business right out from under them, steal the wife of one of his franchise partners, leave his own wife, and cheat the McDonald brothers out of the royalty fees to which they were promised when they inevitably are forced to sell out to Ray.

This is NOT a nice man, but then neither was Vito Corleone in The Godfather Trilogy or Loki from The Avengers movies. And people generally love both the Corleone patriarch and Thor's sly brother as guilty pleasures.  But what the latter two had in abundance, Ray Kroc, as portrayed in The Founder, had none of – and that was a relatable personality.

The Founder plays out like the dramatically filmed version of a documentary. It is not filmed in documentary style but is written as a series of facts filmed in vignettes. The movie is seen through Ray Kroc's eyes in a terrific performance by Michael Keaton but only in the visual sense. By that I mean, we see what happens as Kroc himself might remember them but we, the audience, get no real feel for seeing AS Kroc might have seen life. We are never given opportunity to see the world as Ray Kroc sees it. We only hear him voice the sentiments of his own avarice without understanding what it was that drove him to HAVE those views. No back story, no moments of reflection, no knowing how he reconciles with or justifies to himself what he has done to others. Certainly, no King Claudius self-tormenting moments from Hamlet, wherein the character knows the wrong he has done and would like to repent but is unable because of his own weaknesses for the things he has acquired through those same outrageous acts.

Keaton has been Batman, Bird Man, Vulture in Spiderman Homecoming, and Mr. Mom – all variations on super heroes with a dark but redemptively inclined streak in one form or another (even his character in the comedy Mr Mom gets within a hair's breadth of the dark action of cheating on his wife but comes to his senses in the nick of time). So playing an appealing villain would not be his first rodeo. Unfortunately, the script gives him little to do but posture and go through the motions. Once he establishes his unsuccessful frustrated character then woos the McDonald brothers, the rest of the movie is merely a checklist of events. Expand the business – check. Buy land – check. Meet his business associate's wife and show interest – check. Use innovations, like dried instant milkshake without the McDonald brothers permission – check. Tell the brothers he has more money and so he can do what he wants and they are  out – check. Movie over – check.

Don't get me wrong. Keaton does his best with this dry script. He even manages a few moments which gives a glimmer of what the movie should have been. For example, there's one scene where he joins his future second wife, Joan (Linda Cardellini from Daddy's Home and Avengers: Age of Ultron) at a piano where she works and, right in front of her husband, manages to woo her by singing with her. And the first scenes which show his woeful attempts to sell his multi-mixers demonstrate his gift of gab which is falling on deaf ears. I mean, his pitch was so good I was almost ready to buy one! But, alas, his potential buyers were noT so convinced. So you come to understand why, when he sees this extremely profitable "hamburger joint" his mouth starts watering and not just for the French fries. But for every one of the few interesting scenes there are several astonishingly bland ones, such as when he announces, as they eat a silent dinner at their kitchen table, to his all but ignored wife, Ethel, (Laura "Jurassic Park"  Dern), that he wants a divorce. She just puts down her fork, the camera pans back and away from her, the end. (Huh?) The audience pretty much knew this was coming, but instead of Beatrice Straight's Oscar winning 5 minutes in Network where she reads her husband the riot act for walking out on her, we get something more akin to the emotional vacuum of Dave as he eats alone in the empty house in 2001.

This is a humorless look at the man. Kroc states as his personal philosophy to the McDonald brothers at one point – "If my competitor was drowning I'd stick a hose in his mouth." So "business is business" is obviously a manifesto with Kroc. But that does not mean this arid POV has to be reflected in the way the movie is written. I can't help but wonder how much better this movie would have been with a Cohen Brothers-style hero in the lead.

In short, this is a flat film whose basic moral could be stated as: "If you are persistent enough you can have everything you want and never have to suffer the consequences of your evil actions." Kroc stole his partners' business, his friend's wife, and cheated the McDonald brothers out of hundreds of millions of dollars of royalties —- because he could. But we ultimately don't care. We don't know the abused well enough to empathize and we are givennothing with which to relate to the main character.  It's an unpalatable story which wastes the considerable talents of Keaton.

So……….next time, Keaton wants to play a vulture, I'd much rather it be one in a Spiderman sequel.

DEADPOOL – A MOVIE I WISH I COULD RECOMMEND

SHORT TAKE:

Airplane  meets Marvel.

WHO SHOULD SEE IT:

Unfortunately, in all good conscience, I can not recommend this movie to anyone.

LONG TAKE:

I once heard that the definition of mixed emotions was seeing your mother-in-law go over a cliff in your new car. As I happen to be a mother-in-law I’m not especially fond of that definition though I can understand the intent of demonstrating intense conflicting emotions. I think a better one for me, as an avid fan of superhero movies, is watching Deadpool and its sequel back to back.

First off, Deadpool is not for children. Do NOT take children to see Deadpool. Fritz the Cat was an obscene animated short shown at "art" houses back in the ‘70s. Deadpool is no more for children than Fritz the Cat was. Do not take children to see Deadpool. Do not take teenagers to see Deadpool. Do I make myself clear?

Airplane, which came out in 1980 took every cliche of the disasters happening in a man made construction genre (yes, that was a thing in the ‘70's and ‘80's – Poseidon Adventure, Airport, Airport ‘75, Airport-Concorde, Towering Inferno), and played them for all they were worth – singing nuns, relationship conflicts which were resolved by the disaster, sick children being transported to a hospital, bad weather, hero with traumatic backstory. It was hilarious because it was true – all the movies capitalized on these themes and variations with predictable continuity. (FYI – The ‘90's and 2000's went after natural phenomena – Twister, Dante’s Inferno, Volcano, The Core, Armaggedon).

By the same token, Deadpool does the same thing with the superhero genre: reluctant hero, tragic love story, kids in danger, time travelers, opponents joining up to fight a common enemy, strange super powers and fighting – lots and lots of fighting. Only instead of the sanitized variety, it is quite graphic. So is the language. And the sexuality. And the nudity. And the blasphemy..

Deadpool started in the comics about a mercenary who gets cancer and is given a kind of Captain America super serum which makes him unkillable. Deadpool was never meant to take itself seriously but is the Monty Python of superhero movies. Ryan Reynolds plays the title character to the hilt.

This super… person who by his own admission is no one's idea of a hero… and by his own description is a bad guy who gets paid to kill worst guys than he is, is also very funny. He’s snarky and opinionated and comments constantly TO the audience breaking the fourth wall more than Groucho Marx did. Deadpool has much to commend it. It is well-acted, cleverly written, and has many admirable themes.

On the other hand – and here I’m beginning to feel like the conflicted Jewish patriarch, Tevye, from Fiddler on the Roof – it is gratuitously gory with humans "splating" onto billboards and heads being chopped off. It is extremely sexual with but a paper thin line between some of the scenes and what used to be considered an "X" rating. It is profane in the worst way, sporting every way to insult God and the human body that the imagination can provide.

BUT…… while I was genuinely shocked at the level of sexual activity, profanity, and graphic violence in both the first Deadpool origin story and this sequel it is hard to hate a movie which is so very self-aware that even the credits include such titles as Moody Teenager, CGI Character, and Overpaid Tool. Ergo my dilemma.

Deadpool makes fun of everything, including itself, from Basic Instinct to the most recent Avengers movie of which it is almost in the same universe, both franchises being Marvel.

I always try to judge movies based upon their genre and intent so want to be fair to Deadpool, especially keeping in mind that Deadpool has never advertised itself as anything except an adult parody of superhero movies.

I cannot help but think of the Biblical parable of the two sons, one of whom is disobedient despite his initial verbal assurances and the other who says he will not do his father's will but then goes and does it anyway. Deadpool is the latter.

For example, although the sexuality in the Deadpool origin story is fairly graphic, it is between two people who are monogamous and fully intend to be married, have children, and start a family. This, frankly, is far healthier then your average James Bond movie where the sexual relationships are less visually intense but extremely casual, polygamous, and intended to be very short-term. 

I was genuinely offended by the blasphemous language, yet the actions of those same characters were often Christian – self-sacrificing, demonstrating mercy, seeking to help others to redemption, and aimed at protecting children from those who would take advantage of them, even when those children posed a danger to the heroes trying to save them, which is a whole lot more than I can say for more "acclaimed" movies like Blockers and Call Me By Your Name which tried to push pedophilia into the mainstream.

While I was offended by implications insulting to the Church – such as the headmaster at an abusive school using Bible quotes to justify his actions, or Deadpool, the character, casually comparing himself to Jesus – Deadpool, the movie, never seriously calls the existence of God or Jesus into question as movies like the Dan Brown series do. As a matter of fact, there is a moment when Deadpool is asked if there had ever been someone who was 100% altruistic and he replies "Jesus Christ". It goes by very fast and I had to have it pointed out to me, but that’s a lot more respect than movies like Dogma or Angels and Demons has for the Church.

While it is faint praise to say a movie is not terrible because of what it does not do, Deadpool also has the positive attributes of actively exercising the virtues of self-sacrifice, mercy, family, and marriage.

I can stand the violence as it's mostly cartoonish, I can even wince past most of the sexuality as it's between two consenting adults who intend not only to get married but to have children. However, what I found most offensive was the frequent verbal and referential blasphemies throughout. Sadly, this was the point at which Tevye would have had to have said, "No, there is no other hand."

So for all of its virtues, there is too much, if you’ll excuse the pun, DEAD weight on the other side of the scale for me to me give it a recommendation, even for the older crowd.