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'South Park' creators renovate a beloved restaurant, and find nostalgia is pricey

John Powers

Parker & Stone

¡Casa Bonita, Mi Amor! follows Trey Parker and Matt Stone as they renovate a dilapidated, inauthentic, 1970s Mexican restaurant. The labor of love becomes a money-pit as they chase the landmark's former glory. Paramount hide caption

Maybe because most of us come from somewhere else, Americans just love replicas of foreign places — William Randolph Hearst’s faux European castle in San Simeon, Calif.; Paris Las Vegas with its half-size Eiffel Tower and mini Louvre; or the mock Alpine village you find in, of all places, Helen, Ga. Creating a giddy atmosphere that Umberto Eco dubbed "hyperreality," such crazily ambitious simulacra fill nearly everyone with childish delight.

This includes Trey Parker and Matt Stone of South Park and The Book of Mormon fame. Although notorious for their cynical humor, both harbor a profound affection for one of the places they adored as kids: Casa Bonita, a 50,000 square foot attraction in a Lakewood, Colo., strip mall that has been dubbed the Disneyland of Mexican restaurants. It’s an Anglo businessman’s fantastical riff on an old Mexican village, one decked out with Old West outlaws, volcanoes, cliff divers and even a gorilla that runs through caverns studded with stalactites.

'Book Of Mormon' Creators On Their Broadway Smash

More than half a century after opening in 1974 — complete with TV ads featuring Ricardo Montalban! — this once-spectacular crowd-puller had fallen on such desperate times that it was doomed to close. Then it was bought out of bankruptcy "as is" by Stone and Parker, who vowed to save the beloved Colorado landmark and return it to its former glory.

Their battle to do so is the subject of the enjoyable new documentary ¡Casa Bonita, Mi Amor! Directed by Arthur Bradford and produced by MTV Documentary Films, the movie’s a treat, weaving together great archival footage, excerpts from South Park and Elvis’ movie Fun in Acapulco , plus countless scenes of Parker and Stone’s amused horror when they hear the latest reason why their labor of love is becoming a money-pit.

After a zippy capsule history of Casa Bonita, with its Pepto-Bismol-pink facade and blue fountain out front, the movie returns to the present to show everything it takes to recreate a mecca whose true meaning lay in the feelings it once induced. Because the original Casa Bonita was legendary for lousy food, they bring on an executive chef, Dana Rodriguez, who’s been nominated for James Beard Awards. She takes Parker to Oaxaca so he can soak up the atmosphere and get inspired.

Yet wondrous inspiration bumps into un-wondrous reality. Turns out that their new property is a dilapidated death trap in which everything — electricity, plumbing, air conditioning — must be redone. A renovation originally budgeted at $6 million suddenly balloons to a new estimate of $20 million plus.

Now, as ¡Casa Bonita Mi Amor! chronicles the high price of nostalgia, it also offers an offhand glimpse at one of pop culture’s signature creative teams. It doesn’t take long to spot the differences between the two longtime friends — Parker is clearly the dreamy, creative one; Stone the shrewd whetstone on which he sharpens his ideas. What you may find surprising is the secret sentimentality of guys whose comedy takes such pride in finding nothing sacred. Parker, in particular, betrays a sweetness in his romantic attachment to the innocent pleasures of childhood. He’s also a perfectionist. We see his artistic process, fussing over and tweaking every creative detail of the project.

Here are 25 movies we can't wait to watch this fall

As their crew desperately races to have everything perfect by opening day — spending even more millions along the way — it becomes clear that Parker and Stone are chasing a ghost or maybe a paradox. The original Casa Bonita was a 1970s inauthentic version of 19th-century Mexico, but to recapture its magic this new version can’t be the same Casa Bonita that Parker remembers so fondly. Just as Indiana Jones' movies had to use top-drawer talent to emulate cheap, old movie serials, so their restaurant has to meet today’s expectations — tastier food, sharper entertainment — or visitors won’t find it as thrilling as the original. To feel the same, it has to be different.

By the time Casa Bonita finally reopens — there is a happy ending — Parker and Stone have done something that could hardly be more quintessentially American: They’ve spent a fortune to make a copy of a Mexican-themed restaurant that’s actually better than the original.

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‘Modern Love: Chennai’ review: Thiagarajan Kumararaja’s anthology is a phenomenal assortment of captivating love stories

Directors bharathiraja, balaji sakthivel, thiagarajan kumararaja, rajumurugan, krishnakumar ramakumar and akshay sunder — along with an impressive cast — deliver six meticulously-crafted stories that leave you with many lingering thoughts.

May 18, 2023 04:51 pm | Updated 06:08 pm IST

TJ Bhanu and Ashok Selvan in a still from ‘Imaigal’ | Photo Credit: Special Arrangement

An anthology like Modern Love: Chennai is rare. Every segment of this anthology works wonders and it does so with refreshing writing and treatment at a time when love stories are seen as a done-and-dusted genre that no longer surprises the viewers. Thiagarajan Kumararaja’s anthology, based on a collection of real essays that appeared in The New York Times , has shorts that make you wonder what was real or what was fictionalised, as well as those in which you wish the events were true.

The bizarreness of what transpires in Rajumurugan’s Lalagunda Bommaigal is the former — you wonder if something similar really transpired —  you chuckle for a bit and feel bad for the characters at times, but you also know that this is as real as it can get. Lalagunda begins as a love story between two souls, one hesitating to open up again and the other fighting to be accepted. Left broken on the hospital bed after an abortion, Shoba (Sri Gouri Priya) hopelessly shuts off the world around her; eventually, after many ‘fateful’ events, she falls in love with Nathuram, a panipuri seller. Unexpected events follow.

The biggest of attractions is Sean Roldan’s music, which brings nonchalance to it all. ‘Jingarthathanga’, in particular, bursts with the energy of finding love again. The lyrics compare Shoba to a racing dove (though she looks peaceful, she can put up a fight), and Nathuram to a single shark (even if he’s all alone in a dangerous ocean, he’s still a shark). There are other strikingly-impressive aspects, like how it attempts to break bigoted notions about migrants from North India, at a time when incidents pertaining to the same have been hitting the headlines .

Sri Gouri Priya in a still from ‘Lalagunda Bommaigal’ | Photo Credit: Special Arrangement

In Balaji Sakthivel ’s Imaigal , there is a compelling argument for the futility of fixed gender roles. When Devi (TJ Bhanu) informs her boyfriend Nithiyanandham (Ashok Selvan) that she will lose her eyesight after a few years due to a degenerative eye disorder, it seems like she expects him to desert her. Nithiya, however, takes her hand in marriage and promises to show her all the world until she can. But after a few years, we realise that Devi’s world has shrunk to doing household chores and taking care of their daughter; this is where it speaks of how hopeless patriarchal gender roles are.

Another lovely, deftly-done touch is the first shot of this short — we see Devi looking straight at us as if she could pierce through our souls; her still pupils look so clear that it almost seems unnatural, foreshadowing what we later realise. Interestingly, she looks the most peaceful when she closes her eyes at a pivotal moment in the end.

Modern Love: Chennai (Tamil)

Cinema is the craft of selling the figments of one person’s imagination to everyone else; it creates an unreal even if probable world and lets ordinary mortals live larger-than-life lives. Krishnakumar Ramakumar’s Kaadhal Enbadhu Kannula Heart Irukkura Emoji is an ode to such romantics. Mallika ( Ritu Varma ) begins to question if anyone at all could become the dreamboats that Alaipayuthey ’s Madhavan and Titanic ’s DiCaprio were. She’s so adamant that even a National Award-winning English pesra Blue Sattai film critic fails to convince her.

Everything about this short makes you swoon and look back at the charm, delight, and angst of innocent love. There are callbacks to Tamil films that make for some hilariously real and human moments even while addressing the filminess of it all. Even coping with heartbreaks is infused with humour and it’s glad to see a film that takes into account how food and movies are the most popular coping mechanisms.

When Mallika wonders why there aren’t any “ soup songs ” for women, you chuckle but share her wonder. While it makes a solid point on the endeavour to find people who share the same madness as you, it’s disappointing that even this turns a hypocritical lens on the beauty of the unpretentious moments of reality by using a slow-motion shot at a pivotal point.

Ritu Varma in a still from ‘Kaadhal Enbadhu Kannula Heart Irukkura Emoji’ | Photo Credit: Special Arrangement

Akshay Sunder’s Margazhi begins with a divorce and ends with the birth of love. It speaks of the feelings that bloom like flowers in between the crevices of a rock. Puberty, hormones, and the yearning to fill the sudden maternal absence take by storm the heart of young teenager Jazmine (Sanjula Sarathi), who lives with her divorced father (Srikrishna Dayal).

Jazmine’s father enrols her in a choir class at the local church, and there, she meets Milton (Chu Khoy Sheng), a Delhiite spending his winter holidays with his grandmother. Margazhi speaks of seasonal love — the love that is temporary — and is meant to push you through the harsh winter. An ethereal world, with minimal expressions from its fantastic actors, gets overwhelming emotional heft when Jazmine listens to a particular Ilaiyaraaja song. Ilaiyaraaja here is composing music for a world that celebrates his music. It is only when Jazmine plays Ilaiyaraaja on piano and speaks of her mother, do we realise how its the song that lets her fill the void in her heart.

Sanjula Sarathi in a still from ‘Margazhi’ | Photo Credit: Special Arrangement

In Bharathiraja ’s short Paravai Kootil Vaazhum Maangal , the metaphor of pruning a tree to bring new life becomes a dialogue, a sign of over-exposition that becomes the only issue with this short. Ravi (Kishore), a married man, his wife Revathy (Remya Nambeesan), and Rohini (Vijayalakshmi), a woman Ravi is in love with, decide to talk things through to see how they can all get the best of the circumstances.

Paravai Kootil.. is Bharathiraja’s ode to the late Balu Mahendra, a filmmaker who was known for his unconventional stories: ‘En Iniya Pon Nilaave’ from Balu Mahendra’s Moodu Pani becomes the song through which Ravi and Rohini fall in love and, similarities in the stories apart, it’s also a tribute to Marubadiyum (the characters are named after the actors in the latter).

Also read | Balu Mahendra, a master craftsman who was also a great teacher

Even while it has characters desiring to be a part of a conventional family structure, the ideals that they follow are modern; case in point, Ravi’s explanation of how people can change, or how Rohini speaks out on being unable to take a step back even when she knows what it means to Revathy. Rohini isn’t treated as the ‘other woman,’ but instead, is shown as an individual just trying to find happiness in her life.

Remya Nambeesan in a still from ‘Paravai Kootil Vaazhum Maangal’ | Photo Credit: Special Arrangement

After Bharathiraja’s crystal-clear frames, it takes some time to acclimate to Kumararaja ’s world in Ninaivo Oru Paravai , especially due to its colour palette of scarlet and blue. But a breather — the advantages of streaming — helps, because you get to see what the two colour-scheme means; the splash of the colours denoting how in a relationship, two people carry the pieces of each other.

In this short, the final moments of a relationship are the most pleasant. K (PK) and Sam (Wamiqa Gabbi) have sex for one last time and part ways. Months later, we realise that Sam is heartbroken and that K, after a nasty accident, is left with partial memory loss. He only remembers Sam, and she is brought in to help put his mind back together.

Ninaivo Oru Paravai is easily the pick of the lot; the staging of the scene where the two have explosive, mind-bending sex that literally rocks each other’s worlds is the peak of it all. Ilaiyaraaja’s background score in this scene hits a crescendo and is the cherry on top. Like yet another take on astrology by Kumararaja after Aaranya Kaandam or how the characters question the innate abnormality of storytelling in books and movies, there’s a lot to keep you hooked. The most intriguing touch is how the characters enclose their world, making you question the reality of it all.

Also read | Five things you probably didn’t know about ‘Aaranya Kaandam’

Wamiqa and PK in a still from ‘Ninaivo Oru Paravai’ | Photo Credit: Special Arrangement

Modern Love: Chennai is just what was needed to rejuvenate mature discussions on love. Most of the stories in the anthology manage to surprise you with their unique takes on romance, something that has been absent in new-age Tamil cinema, and umpteen moments end up lingering in your mind; it’s the best of storytellers coming together to tell a wonderful assortment of love stories.

Modern Love: Chennai is currently streaming on Prime Video

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'Shell' Review: Elisabeth Moss and Kate Hudson Almost Transcend a Hollow Satire Horror | TIFF 2024

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Hollywood’s obsession with unattainable beauty is nothing new. Over the past century, the expectations of what a woman should look like have changed drastically from one year to the next, but there has always been one common thread that constantly resonates: whatever you do, just don’t get old. Many films have commented on the dangers of such impossible standards, but Max Minghella ’s Shell now enters the well-trodden territory, teaming up with Kate Hudson and The Handmaid’s Tale co-star Elisabeth Moss to create a campy dark comedy that suggests that eternal youth might be achieved by inexplicably combining our DNA with that of a lobster — what could go wrong?

While Shell doesn't tell us anything we don't already know about societal pressures, corporate greed, or the regenerative powers of the exoskeleton , it's a fun, zany story about the pursuit of perfection and what we'll do to achieve it, even if that means eating a little bit of Kate Hudson's excess shedded skin.

What Is 'Shell' About?

Set sometime in the not-so-distant future, Shell , written by Jack Stanley , tells the story of Samantha Lake (Elisabeth Moss), a talented but hapless actress who loses out on roles to unqualified younger women, including Kaia Gerber 's Chloe Benson. When Samantha's told by her agents in no uncertain terms that she’ll need to change her appearance if she wants to keep succeeding in show business, she looks to Shell, a wellness company run by the alluring mogul, Zoe Shannon (Kate Hudson). Taken with Zoe's magnetism and the promise of everlasting beauty, Samantha undergoes a mysterious procedure that ensures that she won't age a day and will be miraculously free of the skin ailments that have plagued her for years (just don't read the fine print).

Imbued with intoxicating confidence and rocking some obvious hair extensions, Samantha's life takes a drastic upswing until she begins to experience worrying symptoms and Chloe, also a Shell patient, goes missing. As Samantha learns more about Zoe Shannon and the trial-and-error process of the procedure, she begins to question what she got herself into and learns that perfection comes with a hefty price tag... and maybe some claws.

'Shell's Rumination on Beauty Standards Doesn’t Add Much to the Conversation

In terms of its social commentary, Shell doesn’t add anything to the conversation about beauty standards . While the movie's doctrine is stated in a strong monologue by Hudson, everybody (especially the female audience) is well aware that in the world of Botox and risky beauty procedures, you’re damned if you do, and you’re damned if you don’t. When a woman goes under the knife and comes out looking younger, she’s a conformist, and if she does so and comes out with unwanted results, she’s an idiot who never should have tried it in the first place. In a climate where simply aging is seen as an act of defiance, a woman who forgoes cosmetic intervention altogether is seen as brave until she's promptly cast aside.

By never taking itself too seriously, however, Shell does effectively poke fun at the ridiculous lengths people will go to remain youthful while never making fun of the women themselves. When Samantha caves to societal expectations and goes to Shell, while it seems totally ridiculous, we're shown how her hand was forced and how, in order to continue in her career and lead a fulfilling life, she felt as though this was her only option.

Elisabeth Moss and Kate Hudson Give Dynamic Performances in 'Shell'

Shell's greatest strength is the talents of its two leads, and Moss and Hudson play effortlessly against one another. Moss shows off the intensity she's become known for in projects like The Handmaid's Tale or The Invisible Man , while also getting to do some stellar comedy. Samantha starts off as a fairly self-conscious character before evolving into a self-assured movie star and later a stab-happy rebel, and Moss, unsurprisingly, plays every facet of the character flawlessly .

Hudson likewise gets to show off in her role as Zoe Shannon. She's captivating, charming, and slightly terrifying all at once. While the character's malicious intentions are obvious from the start, Hudson plays Zoe with such charisma that it's obvious how the beauty tycoon managed to cast so many people under her spell. As Samantha's friend and later assistant, Lydia, relative newcomer Este Haim also contributes nicely to the film's comedy alongside the rest of the ensemble.

'Shell's Doesn't Go Far Enough With Its Body Horror

There’s no denying that Shell has some great moments of body horror, with bursting lesions, black vomit, and bloody standoffs. Nevertheless, on the whole, the film underutilizes its sickening potential . From the get-go, it’s pretty clear where Shell is going in its dramatization of the beauty industry, and given the nature of the Shell procedure — and its eventual consequences — there are boundless opportunities to really lean into the grisly side effects. Yet, the movie disappointingly shies away. We don't get to see much of the transformation process, and while there are some uncomfortable scenes, the movie sets us up for a grotesque ramp-up in body horror that never really happens .

However, when Shell does go for gross, sound design by Óscar Grau Martin , P.K. Hooker , and Joel Dougherty adds greatly to the film. One moment of Samantha feasting on a shocking appetizer is bolstered by nauseating crunches, and in the film's climax, violent attacks are made even more so through the horrific and wholly effective sound effects. Creative cinematography and some particularly unique point-of-view shots also help to enhance Shell 's wild third act.

Overall, Shell is at its best when it doesn’t take itself too seriously, leaning into its comedic sensibilities while not trying to hit us over the head with familiar messages. When the options are to either age normally or experience a gnarly, animalistic transformation, the choice to forgo a crustacean existence isn’t exactly the girl-power moment that Shell makes it out to be. However, the movie still argues the important idea that enforced beauty standards are damaging and dangerous . It's best to enjoy Shell for what it is: a quirky, mildly skin-crawling, at times laugh-out-loud satire boasting an exceptional cast, some so-so body horror, and one very angry lobster.

'Shell' doesn't break any new ground, but remains a fun, well-acted satire about beauty and what we'll go to to achieve it.

• Elisabeth Moss and Kate Hudson are expectedly enthralling and versatile.
• Excellent sound design elevates skin-crawling moments.
• The movie works as a campy black comedy, balancing laughs with a few good moments of tension.
• The movie's body horror doesn't live up to its gory potential.
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Adithyaks 338 days ago

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Nice movie��

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What a lovely movie fantastic her smile I'm Big fan Meetha Raghunath����

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very good movie for comedy and real life style

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MAANAGARAM MOVIE REVIEW

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MAANAGARAM NEWS STORIES

• SR Prabhu and Sr Prakashbabu's contribution to Kollywood in 2017

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MAANAGARAM TRAILER 1

SONGS REVIEW

Maanagaram is an upcoming  thriller film directed by Lokesh Kanagaraj, starring Sundeep Kishan , Shri and Regina Cassandra in the lead roles. Music for the film is composed by Javed Riaz.

Singer: Suraj Jagan Lyrics: Lalithanand  

Rendered by the famous rock and indie-pop singer Suraj Jagan, the intense rock-based track involves simple guitar riffs and electronic beats complementing each other. The lead guitar interludes with a distortion effect add to the dark effect to go with the thriller film.  

Singer: Karthik Lyrics: Lalithanand  

A feel-good solo track in multi-faced singer Karthik's voice looks to be a typical love song with the lyrics connoting to the hero's speculation on his love. The bass lines and the acoustic guitars by the super talented Keba Jeremiah set the happy vibe rolling and the change of an engaging groove with the use of tapes will get you going.  

Song: Vaazhvey Oru Poro  

Singers: Sharanya Gopinath, Suraj Jagan, Lawrence Lyrics: Lalithanand  

Another Suraj Jagan number which also involves Sharanya Gopinath and Lawrence in vocals is a dark number relating to the genre of the movie. The track mostly involves keyboard programming done by the composer Riaz and ably supported by Keba in guitars.  

Singer: Aarthi N Ashwin Lyrics : Lalithanand  

A romantic solo track rendered euphoniously by Aarthi looks to be a slow unplugged number. The romantic feel of the track is equally due to a well-played solo flute interlude and the complementing chord-progression with strings which also adds an aesthetic value and gives a wholesome effect to the listener.  

Song: It's a Story  

Singer: Sharanya Gopinath Lyrics: Anthony Faze  

The guitar riffs in the track look similar to Iravu Vettai Aaduthey but the highlight of the track being the timber in Sharanya Gopinath’s silvery voice and her ability to reach extreme octaves with ease  . The song just like it’s predecessors looks to contemplate towards the movie’s genre.

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