By Jake Coyle, AP Film Writer
Most franchises that have made it to four films have by then traipsed the galaxy, pulled off a series of daring heists or freed Willy many times over. The movies of "The Trip," however, have gotten this far almost entirely on the volition of Michael Caine impressions.
Michael Winterbottom's four "Trip" movies, with Steve Coogan and Rob Brydon, are certainly more than that — but not much more. And that's no slight. The exceedingly low stakes of these movies are part of their appeal.
No matter how exotic the surroundings — England's Lake District, the Italian coast, Spanish countryside and now the Greek isles — there's no setting that can stop Coogan and Brydon from falling into their familiar patterns of passive aggression and one-upmanship. Emerson wrote of travel, "My giant goes with me wherever I go." For Coogan and Brydon, it's the same, only with Mick Jagger impressions. The meals may change, but the banter stays the same.
"The Trip to Greece," which premieres on digital and cable video-on-demand on Friday, is the fourth and purportedly final voyage for Brydon and Coogan. While setting off on their Greece trip, following the steps of Odysseus, they mark the passing of time — 10 years since they began. Their features are a little less sharp but they've both aged well, they agree. "You were unpalatable as a younger man," says Brydon.
"The Trip" (and their preamble of Al Pacino impressions in Winterbottom's preceding "Tristram Shandy: A Cock and Bull Story") remain the best of these films. I think ever since, those of us who keep returning come hoping for a bit as good as their first volley of Caines or their glorious "Gentlemen to Bed" improv.
But that hasn't kept the sequels since from being charming even while their stars are being deliberately irritating. The set-up of "The Trip to Greece" is the same as the last ones, and likewise first ran as a six-part BBC miniseries. Coogan and Brydon, playing fictionalized versions of themselves, are conscripted to write an article about a culinary tour.
On their Grecian trip, there are occasional nods to their mythic path as well as to the world around them. There's a brief, awkward encounter with a migrant camp. But on the whole, the primary tension in "The Trip to Greece," as before, is in who can quip better, and whether their bubble of battling egos and petty jealousies can be burst by anything — or even if we want it to be. When Brydon asks Coogan what he's most proud of, Coogan doesn't hesitate. "Hmm. My seven BAFTAs," he replies.
This sun-dabbled outing brings impressions of Jagger (with claps), Dustin Hoffman, a version of "Stan Laurel and Tom Hardy" (Coogan starred in the recent "Stan and Ollie"), and, naturally, a few bars from "Grease." As always, Coogan and Brydon are comedy opposites who nevertheless speak precisely the same language.
Beneath the bickering, Winterbottom has always hinted at deeper midlife melancholia and mixed in interruptions from home. In "The Trip to Greece," Brydon has a moment of discomfort hearing that his wife is unexpectedly not at home. Coogan's father is suddenly ailing.
What I think makes the "Trip" movies so gently endearing is in how Winterbottom doesn't elevate or diminish the pointless riffs of his stars with the graver matters around them. It's all of a piece. The "Trip" movies were initially inspired by Sterne's "Tristram Shandy" follow-up, "A Sentimental Journey Through France and Italy," a novel that likewise didn't differentiate between the high and low of life. Another way of saying that is: Michael Caine impressions are just as valuable as anything else.
Watching "The Trip to Greece" at a time when such travel is impossible has only heightened the considerable pleasures of these movies (and made the food all the more appetizing). But mostly it's reinforced the simple delight of sitting table-side with Coogan and Brydon. For all their trivial sparring, they are exceedingly good company.
"The Trip to Greece," an IFC Films release, isn't rated by the Motion Picture Association of America. Running time: 103 minutes. Three stars out of four.
Juliette Welfling Takes On A Musical, A Crime Thriller, Comedy and Drama In “Emelia Pérez”
Editor Juliette Welfling has a track record of close-knit, heartfelt collaboration with writer-director Jacques Audiard, a four-time BAFTA Award nominee for Best Film not in the English Language--starting with The Beat That My Heart Skipped in 2006, then A Prophet in 2010, Rust and Bone in 2013, and Dheepan in 2017. He won for The Beat That My Heart Skipped and A Prophet.
Welfling cut three of those features: A Prophet, Rust and Bone, and Dheepan. And that shared filmography has since grown to most recently include Emelia Pérez, the Oscar buzz-worthy film from Netflix. Welfling herself is not stranger to Academy Award banter. In fact, she earned a Best Achievement in Film Editing Oscar nomination in 2008 for director Julian Schnabel’s The Diving Bell and the Butterfly.
Emelia Pérez is a hybrid musical/drama/thriller which introduces us to a talented but undervalued lawyer named Rita (portrayed by Zoe Saldana) who receives a lucrative offer out of the blue from a feared drug cartel boss who’s looking to retire from his sordid business and disappear forever by becoming the woman he’s always dreamt of being (Karla SofÃa Gascón in a dual role as Manitas Del Monte/Emilia Pérez). Rita helps pull this off, orchestrating the faked death of Del Monte who leaves behind a widow (Jessi, played by Selena Gomez) and kids. While living comfortably and contently in her/their new identity, Pérez misses the children. Pérez once again enlists Rita--this time to return to family life, reuniting with the kids by pretending to be their aunt, the sister of Del Monte. Now as an aunt, Pérez winds up adopting a more altruistic bent professionally,... Read More