My kind of movie star: Drew Barrymore’s Wildflower book tour at Ann Arbor’s Michigan Theater

Drew and Drew

Drew and Drew

Drew Barrymore is a special creation. The scion of an American acting dynasty as renowned for their craft as for their addictions. A Gen X phoenix who climbed from the ashes of a pre-TMZ/Perez Hilton (thank goodness) cocaine/disco-fueled death spiral to become America’s pop culture sweetheart.

A hippie goddess whose love of animals, the environment, and a Free to be You and Me socialist aesthetic she has magically transmuted into a flower power capitalist multimedia empire that includes films, cosmetics, books, and, yes, WalMart eyeglasses.

Oh, and she’s Steven Spielberg’s goddaughter.

Somehow it all makes perfect sense. Like an interesting second cousin you don’t actually know very well but whose life you’ve followed in an endless series of Christmas letters – a relative who seems older than their actual years because of the passing, near-mythic familiarity you have and whose every action seems simultaneously fascinating and mundane.

DrewI’ve had two occasions now to be in the divine Ms. Barrymore’s luminous presence. I was an extra for one marathon day of shooting on her Detroit-filmed 2009 directorial debut Whip It (a charming slice of roller derby women’s empowerment, criminally remembered only as a box office disappointment).

I was fortunate enough to land on the day Barrymore filmed the climactic roller derby battle, and every cast member (and what a cast!) was present: Ellen Page, Jimmy Fallon, Eve, Marcia Gay Harden, Kristen Wiig, Daniel Stern, and, yes, Juliette Lewis (who ended up being the sweetest, most generous of the bunch – who knew?). I was struck by Barrymore’s warmth and exuberance so late in a filming schedule.

Outside the Michigan

Outside the Michigan

She was as accommodating to us lowly extras as she was to her co-stars, and the esprit de corps was infectious, even when the carny band launched into an impromptu wrap party at 2 am. I was pretty spent at that point and wandered quietly away with fond yet foggy memories of a clutch of Hollywood movers and shakers who made Southeast Michigan their home for a summer.

(I did get a shout out from one of Whip It‘s producers tonight in the Michigan Theater lobby for wearing my well-loved/well-worn/dingy Whip It t-shirt. He exclaimed, “I didn’t even get one of those! Thanks for helping us out.” My pleasure!)

And tonight, six years later, Barrymore returned to the scene, reading from her new book of “stories” (autobiographical essays) Wildflower on the renowned Michigan Theater stage in Ann Arbor.

Wildflower ... autographed

Wildflower … autographed

Interviewed by a fellow “Drew” (Ann Arbor’s Drew Waller), Barrymore really needed no introduction or guide. Her boundless presence was a tonic – the word “authentic” was bandied nearly to the point of cliche … if it hadn’t been so darn true.

Her casual Cali vibe infused every anecdote and reading, but a steely tinge of “little girl lost” regret has always been a welcome counterpoint to her “Rainbow Bright” stage presence. It was evident tonight as well.

She spoke at length about the adoration and respect she has for longtime business partner Nan Juvonen (Jimmy Fallon’s wife and, for all intents, Barrymore’s surrogate mom).

She offered a glimpse of the wistful gratitude she has for her unconventional, tortured, charmed childhood; the topsy-turvy upbringing her sometimes-estranged mother Jaid gave Barrymore in a West Hollywood walk-up with only a sole avocado tree as her backyard.

Barrymore then gave us a quintessentially left-of-center take on her own parenting of daughters Olive and Frankie; she admitted a refreshing aversion to the other Hollywood mommies who sniff in her direction when not every meal she makes is “organic.”

Drew and Drew 2She confessed that she adores Adam Sandler (someone should … and he is at his best when he shares the screen with her, IMHO).

But she was at her most affecting when she described her lifelong love of animals – from the pack of three rescue dogs who lived with her through her tumultuous 20s and into her 30s (all passing relatively recently to much heartbreak in the Barrymore home) to her current canine adoptees Lucy and Douglas, a couple of characters who clearly bring great light to her life. She gushed that animals have taught her to love, unconditionally. When she looks in an animal’s eyes, she knows what true love can be.

Barrymore’s mantra? Live in the moment. Be kind. Be real.

Roy and John at Drew

Roy and John (and random friend)

And where was this most apparent? At least for us? When my cold-afflicted husband John, caught in a sneezing fit, received a very gracious “bless you” from a concerned Ms. Barrymore. She turned in her chair, looked lovingly in his general direction, and, with great concern, said, “I hope you feel better.” Later, when I was hustled through the manic autograph queue (seriously, she barely had time to look up at any of us – Motor City assembly line bench-marking?), she shouted after me, “Don’t worry about it! I’m covered in snot all day, every day.”

My kind of movie star.

______________________________

Roy at DrewReel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital)In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

Shiny pop metaphor for how much harm we do ourselves through inaction and anxiety … X-Men: Days of Future Past

Description: Film poster; Source: Wikipedia [linked]; Portion used: Film poster only; Low resolution? Sufficient resolution for illustration, but considerably lower resolution than original. Other information: Intellectual property by film studio. Non-free media use rationales: Non-free media use rationale - Article/review; Purpose of use: Used for purposes of critical commentary and illustration in an educational article about the film. The poster is used as the primary means of visual identification of this article topic. Replaceable? Protected by copyright, therefore a free use alternative won't exist.

[Image Source: Wikipedia]

How many Oscar winners and nominees does it take to put together a successful comic book adaptation? Apparently, a boatload.

The per capita of Academy Awards/nominations among the cast in X-Men: Days of Future Past is astounding: Ian McKellen, Jennifer Lawrence, Anna Paquin, Halle Berry, Hugh Jackman, Ellen Page, Michael Fassbender … not to mention talented folks like Peter Dinklage, Nicholas Hoult, James McAvoy, Evan Peters, and even director Bryan Singer who likely may find themselves on the receiving end of a nod or a statuette of their own one day.

As comic book adaptations go, this is about as good as they get, marrying a bit of the self-serious sermonizing of Christopher Nolan’s Dark Knight films with the gee whiz ironic whimsy of Jon Favreau’s and Shane Black’s respective Iron Man movies.

Having Singer return to the franchise (he rather unsuccessfully left to direct the bloated Superman Returns) is a stroke of much-needed genius. Other than last summer’s quietly effective The Wolverine, directed by James Mangold, or the zippy promise of Matthew Vaughn’s retro romp X-Men: First Class (Vaughn gets a writing credit on Days of Future Past), the series had started to lose its way with over-marketed, under-delivering, freakishly-merchandised failures like X-Men: The Last Stand (yeah, I’m a Brett Ratner hater too) or clunkily titled X-Men Origins: Wolverine (directed by Gavin Hood who went from Tsotsi and Rendition to X-Men Origins: Wolverine … wtf?)

Singer, not unlike J.J. Abrams with his seamless Star Trek reboot, brings us quite literally full-circle, mining all that has come before and brilliantly weaving the series’ best and crispest elements into a crackerjack narrative. The plot is a riff on Chris Claremont’s/John Byrne’s iconic “Days of Future Past” comics storyline from the early 80s. It details Wolverine’s mind-bending time travel leap from a dark dystopian future full of death and pain and murky CGI to a swinging 1970s full of death and pain and cheesy poly blends, all to avert a handful of historical moments that spark the creation of mutant-murdering robot Sentinels whose nefarious deeds bring about that nasty future everyone wants to avoid.

Clear as mud? It doesn’t matter ’cause the ride is a helluva lot of fun. The film isn’t perfect. I found this grim future-shock framing set-up with its overbaked Holocaust allusions, its bleak visuals, and its mopey characters and their endlessly ominous pronouncements rather tedious. Halle Berry (so miscast from the very first film) as weather-manipulating Storm still seems like she’s phoning her performance in from some all-inclusive Caribbean resort where they supply her an infinite series of bad white/gray wigs. And as much as I love McKellen and his comrade-in-arms Patrick Stewart as Magneto and Professor Charles Xavier respectively, they both appear to be marking time and collecting a paycheck (albeit a pretty hefty one).

However – and this is so key – all that Charles Dickens-meets-Philip K. Dick dreariness is essential to the fun once our time traveling mutant everyman (that would be Jackman with a crackling world-weary wit as Wolverine) hits the Me Decade. Everything comes alive.

McAvoy is so good – funny and haunting – as the young Xavier who has let his life (and fabulous mansion/school) go to seed. Fassbender (young Magneto) as the chillingly beautiful Malcolm X yin to McAvoy’s Martin Luther King yang is sharp as ever. The film smartly returns to Singer’s core hook: that mutant persecution is a righteous summer-blockbuster allegory for all the -isms/-phobias that plague our society and for the tension that always has and always will exist between the philosophies of blending/integration and of fighting/individualism.

All the players in the 1970s portion of the film acquit themselves nicely, from Lawrence’s fiery person-on-a-mission Mystique to Hoult’s worried caretaker Beast to Dinklage’s well-intentioned, quite-misguided military industrialist Trask.

The film’s best moments come from Evan Peters’ much-too-brief screen-time as speedster Quicksilver. He rocks every single freaking moment he has, like nothing I’ve ever seen in one of these tentpole epics. He wrings comic gold out of one word (“whiplash”) and has an absolute Bugs Bunny-esque ball torturing a gaggle of Pentagon guards, all set to the strain’s of Jim Croce’s time-warped classic “Time in a Bottle.” Give this character/actor his own movie. Now.

The smartest move of all in this very smart film? There is no villain. There is no mustache-twirling, blow-up-the-world, video-game-destructo fool in a cape leading us to a predictably cacophonous denouement. Nope. Everyone is their own worst enemy in this movie. Just like life. Fear and hate, self-loathing and prejudice those are the villains in this film, a movie which serves as a shiny pop metaphor for how much harm we do ourselves through inaction and anxiety.

Most importantly, X-Men: Days of Future Past leaves us with hope. No situation and no person are ever beyond redemption, as Stewart tells McAvoy in one of the film’s trippiest and most heartfelt moments. Amen to that.

___________________________

Reel Roy Reviews is now a book! Thanks to BroadwayWorld for this coverage – click here to view. In addition to online ordering at Amazon or from the publisher Open Books, the book currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.