REVIEW: Life (2017)

8 07 2017

I fell in and out of sleep during Daniel Espinosa’s “Life,” a fact I feel comfortable sharing because it did not seem to have any bearing on my comprehension of the film. As it turns out, I could zone out for 10-15 minutes at a time and jump right back in feeling like I had not missed out on anything.

This is probably attributable to two factors: 1) I’ve seen “Alien,” the seminal space horror film from which “Life” cribs heavily, and 2) a line of expository dialogue recaps any major development, including big action sequences. As loud and technically complex as these set pieces are, I found myself drifting off during them with stunning ease.

“Life” (not to be confused with the James Dean quasi-biopic from 2015) takes a familiar premise – discovering life in space – and fails to take it anywhere new. “Calvin,” as their amoeba-like alien foe is named by a young schoolgirl back on earth, proves a dangerous foe for the astronauts on board the International Space Station. There’s no particular joy in watching him outsmart the crew because he adapts to surmount their weaknesses at light-speed. Not even a sardonic Ryan Reynolds or a laconic Jake Gyllenhaal can bring some – wait for it – LIFE to the screen. C





REVIEW: Deadpool

9 03 2016

Deadpool” begins with an opening credits sequence that lists each member of the creative team not as people but rather as their archetypes – along with plenty of gratuitous winks to star Ryan Reynolds and the celebrity culture at large. The montage more or less represents the film as a whole: clever but not ingenious, distinct but not original.

Reynolds struts around the film like he is the first person to don a superhero suit and not fit the mold of a straight-laced all-American macho man. The foul-mouthed average joe act was done in 2010’s “Kick-Ass,” and the relentless smart-ass routine has been beaten into the ground by Robert Downey, Jr. beginning with 2008’s “Iron Man.” There’s nothing particularly novel about the “merc with a mouth” (that stands for “mercenary,” apparently) although Tim Miller and his band of four credited screenwriters certainly try their best to convince audiences otherwise. The level of self-satisfaction and self-effacement proves irritating to a fault, though.

For all the Deadpool character tries to subvert the superhero cliches, his story sure plays out a lot like one. “Deadpool” is a garden variety origin story, from Wade Wilson’s humble beginnings to love interest (Morena Baccarin’s Vanessa) down to acquisition of special power and, ultimately, mastery of that gift. The film relies on formula as a narrative throughline so it can indulge in self-referentiality and humorous sideshow diversions. If “Deadpool” is a reaction to the banality of the genre, it does little to improve upon the recognizable flaws.

That also goes for the character of Deadpool, supposedly a more “progressive” superhero with his ambiguous sexuality. But he speaks with a higher voice. He totes around a pipe cleaner penis. He makes frequent Freudian slips about anatomy. For heavens’ sake, HE PLEASURES HIMSELF WITH A STUFFED PONY. This is not the introduction of a pansexual hero. “Deadpool” just repackages old prejudices and appeals to homophobic instincts by making any non-normative behavior from Wade into the butt of a joke. It’s comedy as con artistry. C+2stars





REVIEW: Mississippi Grind

29 11 2015

Mississippi GrindEarly on in Anna Boden and Ryan Fleck’s “Mississippi Grind,” a small detail stood out to me. As Ben Mendelsohn’s Gerry sits down on the can to relieve his bowels, he reaches for something to wipe – and realizes he’s at the end of the roll of toilet paper. While most films, admittedly, avoid portraying such activities in the first place, how many of them bother to include this kind of widely shared frustration?

Boden and Fleck’s film, which they both co-wrote and directed, has one of the most thoroughly lived-in feels of any recent film. The way they capture the loneliness of a locale like an Iowa bar with such specificity comes across as so effortless that it might go unnoticed. But those who know to look will find a highly considered setting for an entertaining story.

“Mississippi Grind” takes the familiar form of a road trip between two buddies, although the pair in this movie only meets when the narrative begins. Gerry has many years of gambling under his belt (and plenty more in debt) before Ryan Reynolds’ younger Curtis comes along and strikes up a chummy rapport. The two head off towards New Orleans for the least Hollywood-like bender of booze and betting.

The favored cliché when describing any road trip or travel story is “it’s not the destination, it’s the journey.” That may apply to many movies, though it rings especially true for “Mississippi Grind.” Boden and Fleck are not building towards any kind of giant showdown in The Big Easy. Rather, it’s just the natural end point for the duo. The joy of the film comes from watching their little side trips and micro moments, grappling with their troubled pasts and bracing for the uncertain future. B+3stars





REVIEW: Self/Less

10 07 2015

The central conceit of Tarsem Singh’s “Self/Less” is effortlessly appealing, if not incredibly novel.  A new technological breakthrough allows for the transfer of a nimble mind from a decaying body into a more spry figure.  As Matthew Goode’s well-coiffed scientist Albright puts it, think of what Albert Einstein, Thomas Edison, or Steve Jobs could have accomplished with a few more years.

The man who receives this revolutionary soul transplant seems to share little in common with those three luminaries, though.  Ben Kingsley’s Damian Hale simply amassed a fortune as a real estate baron.  When he sheds his cancer-addled body and reemerges in the toned physique of Ryan Reynolds, Damian uses the new lease on life not to help humanity but rather to please himself.  In pursuit of nothing but hedonism, he beds plenty of women and never once shows why he deserves an extension of his time on earth.

Beyond Damian’s clear lack of merit to receive the shedding treatment, “Self/Less” suffers from plot holes and shallow thinking aplenty.  Writers David and Alex Pastor do add in a few complications to the concept, mostly resulting from the incomplete erasure of the mind that used to inhabit Damian’s new frame.  (Side note: Why not just clone these new bodily vessels?)  The ethical questions surrounding who really owns a physical body or a life are fascinating ones indeed…

…that will have to be answered by another movie, because “Self/Less” would much rather just cut to a mindless car chase than linger on a mindful discussion.  The Pastor brothers placed their fingers on a topic that could inspire meaningful, relevant debate.  Perhaps if they were able to complete two or three more drafts of the screenplay, they might have stumbled on something really profound.  But as is, the potential for a great movie gets squandered to produce a merely passable one.  C+2stars





REVIEW: Woman in Gold

4 04 2015

Woman in GoldA few months ago, upon seeing the trailer for “Woman in Gold,” I made the snarky suggestion on Facebook that the film was “Philomena” meets “The Monuments Men.”  The calculation wound up being correct, though thankfully the hybrid resembles the Judi Dench charmer more than Clooney’s bomb.

Helen Mirren stars as plainspoken Maria Altmann, an aristocratic Austrian émigré turned Angeleno shop owner.  Back in the 1940s, she fled the Nazi incursion after her cultured family found themselves the target of pointed hostility from the Third Reich’s plunderers.  Maria left before they could take her pride – but not before they confiscated artwork that was rightfully hers, including a portrait by Gustav Klimt that was commissioned by her uncle.

Fast forward half a century, and that same portrait, widely hailed as a national treasure, hangs on the walls of Vienna’s Belvedere Museum.  Maria, meanwhile, hangs her head in despair after the loss of her dear sister.  On a whim, she reaches out to the down-and-out son of a family friend, Ryan Reynolds’ lawyer on the rebound Randol Schoenberg, to see if he can assist her in a restitution claim.

Neither, however, realizes the many personal and cultural nerves they will hit in their years-long quest to right a historical wrong.  Austria’s restitution began as a PR stunt but quickly became a Pandora’s box of past grievances coming back into the light.  “Not everything is about the Holocaust,” opines one upset citizen when spotting Maria after an intense session in court.  The line resonates not only given the recent explosion of anti-Semitic attitudes in Europe but also in a more global sense, where those who did not suffer from past discrimination still cannot fathom grappling with its present-day effects.

“Woman in Gold” provides a very satisfying watch, even though it is definitely far from perfect or groundbreaking.  Director Simon Curtis achieves a feat similar to the one he achieved on his feature film debut “My Week with Marilyn” by providing a consistently engaging, entertaining story with stakes worth the price of admission.  This film, though, does suffer from some less than ideal casting (Reynolds and his on-screen wife Katie Holmes) as well as some unmotivated cutting back to Maria’s backstory as a young woman in Vienna.  Still, I would not hesitate to recommend it for anyone looking for a drama that will not sap all their cognitive energy.  B2halfstars





REVIEW: The Voices

9 02 2015

The VoicesThe Voices” takes a protagonist plagued by mental illness, as in “Silver Linings Playbook,” and combines him with the unsuspecting, mild-mannered murderer like in “Bernie.”  The film’s Jerry, as played by Ryan Reynolds, is an outwardly cheery factory worker whose schizophrenia makes him subject to violent impulses.  He can mostly suppress these urges, yet the invented voices of his cat and dog begin to lure him into violence against the women of his company’s accounting department.

As he knocks off characters played by Gemma Arterton and Anna Kendrick, director Marjane Sartrapi aims for a tone of black comedy that never really sticks.  Sartrapi showed with her Oscar-nominated “Persepolis” that she can make a character with only two dimensions feel as whole as any actual human, so the film’s lack of depth feels especially disappointing.  She does not deserve all the blame, though; Michael R. Perry’s rather bland, unfunny script does not set the stage for her and the cast to succeed.

Not to mention, the humor of “The Voices” also falls victim to forces outside the movie.  Sartrapi obviously does not condone murder, but placing a character who commits them at the center of a story does make identification and sympathy much simpler.  By making Jerry the protagonist, the film does glorify his exploits to some small extent.  In a time where mentally disturbed people come unhinged and tear holes in communities like Aurora and Newtown, serving as a party to their crimes just feels inappropriate.  Laughing at them seemed downright wrong.  C+2stars





LISTFUL THINKING: 2012 Superlatives

1 01 2013

New Year’s Day always marks a very interesting balancing act, reflecting on the old while also ringing in the new.  So while people are still thinking about 2012, let me offer up the first annual Superlatives post for the films of 2012.  I’ve already weighed in with the best and worst 10 of 2012, but what about the other 80 movies of the year?  What about the performances?  What about all sorts of other things?  This is the post where I get all sorts of stuff floating in my mind out there.

For the sake of review, I’ll go ahead and re-list my 10 best and worst of 2012.

Top 10 of 2012

10 Best of 2012: “21 Jump Street,” “Argo,” “Hitchcock,” “Killing Them Softly,” “Looper,” “Bernie,” “Zero Dark Thirty,” “Les Misérables,” “The Master,” “The Queen of Versailles

Prometheus

Honorable Mentions: “Rust and Bone,” “Prometheus,” “Beasts of the Southern Wild,” “Wreck-It Ralph,” “End of Watch,” “Holy Motors

Worst 10 of 2012

10 Worst of 2012: “The Grey,” “The Bourne Legacy,” “John Carter,” “Gone,” “The Vow,” “Killer Joe,” “The Paperboy,” “The Deep Blue Sea,” “The Watch,” “Casa De Mi Padre

pitchperfect2

Honorable Mentions: “Pitch Perfect,” “Something From Nothing: The Art of Rap,” “Abraham Lincoln: Vampire Hunter,” “First Position,” “Keep the Lights On,” “Being Flynn

10 More 2012 Releases I Still Need to See: “The Hobbit: An Unexpected Journey,” “The Impossible,” “Promised Land,” “The Intouchables,” “Seven Psychopaths,” “Hyde Park on Hudson,” “Not Fade Away,” “Smashed,” “The House I Live In,” “Searching for Sugar Man”

Vanellope

5 Most Surprising Movies of 2012: “Wreck-It Ralph,” “Bernie,” “End of Watch,” “Hitchcock,” “21 Jump Street

Denzel Washington in Flight

5 Most Disappointing Movies of 2012: “The Dark Knight Rises,” “Django Unchained,” “Lincoln,” “Flight,” “The Bourne Legacy

Bachelorette

10 Most Forgettable Movies of 2012 (in alphabetical order): “Bachelorette,” “Hysteria,” “Jeff, Who Lives at Home,” “Lola Versus,” “Man on a Ledge,” “Men in Black III,” “Salmon Fishing in the Yemen,” “Seeking a Friend for the End of the World,” “Take This Waltz,” “Trouble with the Curve

Silver Linings Playbook

5 Most Rewatchable Movies of 2012: “21 Jump Street,” “Silver Linings Playbook,” “Wreck-It Ralph,” “Argo,” “Ted

Lincoln

5 Movies of 2012 I’m Glad I Saw But Will Never Watch Again: “Lincoln,” “Amour,” “The Invisible War,” “Compliance,” “ReGeneration

Killing Them Softly

5 Most Underrated Movies of 2012: “Killing Them Softly,” “Les Misérables,” “Prometheus,” “Safety Not Guaranteed,” “End of Watch

The Avengers

5 Most Overrated Movies of 2012: “The Sessions,” “Lincoln,” “Django Unchained,” “Life of Pi,” “The Avengers

PSH

5 Movies That Got Better with Distance and Time: “Killing Them Softly,” “Zero Dark Thirty,” “The Master,” “Silver Linings Playbook,” “Prometheus

Brave

5 Movies That Got Worse with Distance and Time: “Brave,” “Lincoln,” “Flight,” “The Sessions,” “The Dark Knight Rises

Argo

5 Movies That Felt Shorter Than Their Runtime: “Zero Dark Thirty,” “Les Misérables,” “The Dark Knight Rises,” “Argo,” “Django Unchained

Keira Knightley in "Anna Karenina"

5 Movies That Felt Longer Than Their Runtime: “Lincoln,” “Anna Karenina,” “This Is 40,” “Damsels in Distress,” The Five-Year Engagement

BOTSW

Breakout Performances: Quvenzhané Wallis in “Beasts of the Southern Wild,”  Eddie Redmayne in “Les Misérables,” Ezra Miller in “The Perks of Being a Wallflower,” Garrett Hedlund in “On the Road,” Scoot McNairy in “Argo

Silver Linings Playbook

Breakthrough Performances: Bradley Cooper in “Silver Linings Playbook,” Michael Pena in “End of Watch,” Jack Black in “Bernie,” Channing Tatum in “21 Jump Street,” Elizabeth Banks in “People Like Us

Best Exotic

Breakdown Performances: Anna Kendrick in “Pitch Perfect,” Salma Hayek in “Savages,” Tom Cruise in “Rock of Ages,” Emile Hirsch in “Killer Joe,” Dev Patel in “The Best Exotic Marigold Hotel

frame 01021605R

Best Body of Work in 2012: (tie) Anne Hathaway in “The Dark Knight Rises” and “Les Misérables,” Jennifer Lawrence in “The Hunger Games” and “Silver Linings Playbook

The Deep Blue Sea

Worst Body of Work in 2012: (tie) Rachel Weisz in “The Bourne Legacy” and “The Deep Blue Sea,” Taylor Kitsch in “John Carter” and “Savages

Jessica Chastain in Zero Dark Thirty

Best Heroes: Jessica Chastain as Maya in “Zero Dark Thirty,” Mark Ruffalo as The Hulk in “The Avengers,” Hugh Jackman as Jean Valjean in “Les Misérables

John Carter

Worst Heroes: Andrew Garfield as Spider-Man in “The Amazing Spider-Man,” Taylor Kitsch as John Carter in “John Carter,” Jeremy Renner as Aaron Cross in “The Bourne Legacy

Catwoman

Best Villains: Anne Hathaway as Selina Kyle/Catwoman in “The Dark Knight Rises,” Russell Crowe as Javert in “Les Misérables,” Leonardo DiCaprio as Calvin Candie in “Django Unchained

Skyfall

Worst Villains: Tom Hardy as Bane in “The Dark Knight Rises,” Javier Bardem as Silva in “Skyfall,” Rhys Ifans as Lizard in “The Amazing Spider-Man

Joaquin

Best Possessed Performance: Joaquin Phoenix in “The Master

The Paperboy

Worst Possessed Performance: Nicole Kidman in “The Paperboy

Bernie

Best Comedic Performance: (tie) Jack Black in “Bernie,” Channing Tatum in “21 Jump Street

The Watch

Worst Comedic Performance: The cast of “The Watch

Uggie

Best Cameo: Uggie in “The Campaign

Ryan Reynolds

Worst Cameo: Ryan Reynolds in “Ted

Eddie Redmayne

Best Singing: Eddie Redmayne in “Les Misérables

Alec

Worst Singing: Alec Baldwin in “Rock of Ages

That’s about all I can come up with for now … may add to this later!  Happy 2013, everyone!





REVIEW: Ted

4 08 2012

For better or for worse, “Ted” is a product of Seth MacFarlane through and through.  In other words, the film plays out like one of those five-part “Family Guy” story arcs.  It also doesn’t help that the comedic pairing of semi-serious Mark Wahlberg and a wildly inappropriate talking teddy bear, aptly named Ted, are essentially performing the same functions as straight-shooting dog Brian and the indecent infant Stevie.

And since “Ted” bears such an uncanny resemblance to the comedic stylings of “Family Guy,” the optimal way to consume it is the same: as a set of stand-alone YouTube clips that make you roar with laughter and cut out the story that connects the jokes.  MacFarlane, absurd metaphor-spawner that he is, has never quite figured out how to tell a story that compels anywhere near as much as his cut-away humor does.

Granted, his borrowed, trite plot is merely there to string together the laughs.  Yet it also winds up depreciating the value of the entire film because eventually you forget all the jokes.  But the story is something that sticks in your head.  For instance, I could recite one or two funny lines from “Ted” off the top of my head, but that creepy and unnecessary subplot involving Giovanni Ribisi as a sexually disturbed adult willing to kidnap a talking teddy bear will always haunt my memory.

Read the rest of this entry »





REVIEW: Safe House

3 03 2012

We all know Denzel Washington is an outstanding actor.  Most of us know that the same could not be said for Ryan Reynolds.  (For those that refute this, ask yourselves whether you are in love with his physique or his performances.)  “Safe House” amounts to little more than a “Bourne”-lite adventure reaffirming these virtually self-evident conclusions.

The adventure takes us to South Africa, where the dullness of Matt Weston’s (Reynolds) humdrum job supervising a CIA safe house has begun to take a psychological toll as he feels stuck and unable to move up the institutional ladder.  This would be an Occupy-friendly film if only Reynolds were complaining about not having a job; later, the film delves into a new favorite action movie trope that would also have the vagrants of Zuccotti Park licking their chops: THE GOVERNMENT IS CORRUPT!  All of them!  Just working the government destroys your soul and taints your brain!  I get it, Hollywood, you love 1968 and want to keep the spirit of skepticism and distrust of institutions alive … but that was four decades ago and the schtick is getting a little old.  Maybe it’s time for a new target.

But the monotony of his vocation gets suddenly broken when a captured criminal is brought it – young Cornel West!  Just kidding, Denzel Washington’s rogue CIA agent Tobin Frost only looks like him.  The difference between the scholar and the character is that Frost is much better at getting people to see things his way.  As the latest Hannibal Lecter knock-off, Frost is hardly as frightening as might be expected, but Washington’s calm portrayal certainly makes him an eerie wild-card and a ticking time bomb.

Read the rest of this entry »





REVIEW: The Change-Up

6 08 2011

It’s a stretch to call “The Change-Up” a comedy.  The movie feels like a two-hour gag reel of failed jokes axed from an offensive stand-up comedian’s routine.  It puts you on edge, too, because you are always scared that it’s going to go one step too far and really offend someone like Michael Richards or Tracy Morgan.

Sophomoric and immature humor can be funny at times, but when anything relies solely on it, the act gets old really quickly.  The movie tastelessly hurls pot-shots at mentally challenged people, Down syndrome patients, Japanese people, and Catholics, just to name a few, trying to get a laugh at their expense.  This kind of shock jock technique treads a thin line between making a statement or commentary and exploiting stereotypes for personal gain; “The Change-Up” is so far on the wrong side of that line it really isn’t funny.

Not only that, the movie as a whole just doesn’t produce the laughs that it should.  The writers of “The Hangover,” who penned the stale reimagining of “Freaky Friday” that can barely be called a script, took the wrong lesson from their smash success.  We didn’t respond so overwhelmingly positively to “The Hangover” because of its raunchiness and vulgarity; that’s standard order in Hollywood R-rated comedies nowadays.  We responded because it was outrageously original and a fun ride because we never knew what to expect.

“The Change-Up” represents that lazy and misplaced mentality that  doubling the crudeness and gutting the inventiveness down to next to nothing will still produce a good comedy.  As evinced by all the jokes that fall terribly flat and the ability to see the wheels of the movie turning the whole time, it doesn’t produce anything except a rollickingly predictable and forgettable time at a movie that should have you rolling on the floor.  And alas, there are probably more body changing movies out there than decent laughs in this movie.

Read the rest of this entry »





REVIEW: Green Lantern

20 06 2011

The old adage traditionally goes “money can’t buy you happiness,” but in respect to the latest Hollywood comic book adaptation, “Green Lantern,” money can’t buy you quality. The higher the pedestal, the harder the fall, and with a $200 million price tag, this movie lands a hard face plant.  Even with Ryan Reynolds turning in one of the better superhero performances in recent memory, the movie’s unimaginative script and laughable special effects render it one step short of unbearable.

The first movie in any hopeful series has to do a lot of introductions, and the hero has to earn his stripes.  But here, the exposition just made me want to howl with laughter because of its corniness, and they even brought in Geoffrey Rush to do some of the narration to make it sound serious!  The whole universe they set up feels like some rejected, half-baked idea for a Disney Channel series with its Sectors of the universe, the wise sages known as Guardians, and the intergalactic police force called the Green Lantern Corps.

Hal Jordan (Reynolds) is the lucky human who gets to join their ranks thanks to being “chosen” by the green light after another Green Lantern crash-lands on Earth.  Cocky, rule-breaking, and daredevil Jordan has his work cut out for him as the Green Lanterns draw their power from the green light of will, while the menacing Parallax (and his new convert Hector Hammond, Peter Sarsgaard’s mad scientist with a nasty receding hairline) draws his power from the yellow light of fear.  He must learn to use willpower to overcome fear by using the power of imagination – which makes it all the more ironic that the movie’s big theme copies that of the poorly received “Spider-Man 3.”  Clearly it’s not Jordan who needs the green light; it’s the people who wrote the script.

The whole mess, which goes on for nearly two hours, is full of plot holes and ridiculous implausibilities (flying next to the sun?) that make it even more laughable.  But the icing on the cake is the movie’s visual effects, which are honestly the WORST that I’ve seen in a blockbuster made this millenium.  When Jordan harnesses the green energy and transforms, he looks so fake that it’s hard to take him seriously.  It’s made worse by the fact that his eyes are sloppily changed blue, making him look borderline possessed (not to mention that it does jack squat to protect his identity).  And don’t even get me started on those Guardians; they look like the offspring of trolls bred with Smurfs.

Truly, Reynolds deserves better than this.  He may be the “Sexiest Man Alive,” but he’s also out to prove that he’s more than just a pretty face.  He puts a lot of soul into this character, giving Jordan some depth and emotion, yet he’s stifled by a terrible movie that is unintentionally more like “Bridesmaids” than “Thor.”  Reynolds is a star here, but he can’t shine bright enough to overpower the ugly light that is “Green Lantern.”  From a critical perspective, it’s a big, fat red light for this movie.  C- / 





REVIEW: Buried

13 06 2011

2010 saw the release of two cinematic interpretations of claustrophobia: “127 Hours” and “Buried.”  However, the trapped protagonist marks the films’ diverging point.  While Danny Boyle’s film is a buoyant celebration of life and the triumph of man’s will over the harsh conditions of nature, Rodrigo Cortés’ film takes place in a coffin underground, a setting which sets the bleak tone for the thriller that so badly begs to be seen as Hitchockian.

Equipped with nothing more than a Zippo lighter and a cellphone that somehow manages to get service underground in Iraq (he must not have AT&T, which can’t get me reception in my own house), American truck driver Paul Conroy (Ryan Reynolds) must find a way to get himself saved.  He only has a finite amount of time to do this, or the oxygen will run out – and he will die.  Paul has no recollection of how he managed to get himself in this position, but he must be smart and look forward to get himself out of the position.

There are no cinematic tricks hiding in the sleeves of “Buried;” it’s just straight up 90 minutes of Ryan Reynolds stuck in a box acting the hell out of his character.  Fearful, confused, alone, worried, woebegone – he runs the whole gamut of emotions in a small space and in very little time.  It’s an impressive performance that adds a humanity to the movie that feels as palpable as the sweat dripping down his forehead.

Cortés does a great job of complementing Reynolds’ intensity by craftily manipulating the tools he has.  The movie’s cinematography, editing, and score are all impeccable and keep the suspense taut.  I had my doubts that anyone could make a movie like “Buried,”truly just as straightforward as a man in a coffin, even work, but Cortés executes and makes it a great thriller.  While I’d choose to be trapped with “127 Hours” over this in a heartbeat, I definitely can’t diminish the efficacy of this equally improbable success.  B+ / 





My “My Best Friend’s Wedding” Cast WON!

29 10 2010

Who, me?  Again?  Oh, stop it.  Seriously, stop it.

Thanks again to every LAMB voter who crowned me king of casting AGAIN.  I really do appreciate it.  Maybe I should go into casting as a career … the other day I recast “The Social Network” using the actors from my school’s acting company.  It’s something I sure like to do.

I’ll offer up a brief bit of rationale behind my casting – and who knows, maybe you can steal my crown!

Rachel McAdams was my choice to take over helming the movie from Julia Roberts.  She’s a fantastic actress with great comedic talent, plus she looks GORGEOUS.  Even if she stunk in the role, I’d forgive her as long as she looked good.  She is in the mainstream consciousness, but a huge role like this could propel her to superstardom.  I have adored her in movies like “Wedding Crashers” and “The Family Stone,” and I just hope the rest of America could catch up with me – er, her.

I had the hardest time casting Michael, the man of her dreams who happens to be engaged to another girl.  I settled on Ryan Reynolds, who has been heating up the rom-com circuit recently and could easily do a pretty good job with this role.

The two biggest no-brainers were the scene-stealing supporting roles of Cammy, Michael’s ditzy fiance, and George, Jules’s gay friend who steps in to make everything more complicated.  It was obvious from the get-go that Amanda Seyfried would have to play the part since she has proven herself so great at playing the dumb blonde type (“Mean Girls”) as well as being someone beautiful that an audience can care about (“Mamma Mia”).

And do I even need to explain choosing Neil Patrick Harris as George?  He’s one of the funniest people at work in the business and this role was practically made for him.  If there’s ever a Broadway version of the movie, he will be instantly cast.

Watch for the next edition of LAMB Casting, when the blogosphere attempts to recast “Forrest Gump!”  (My choice.  We’ll see how it goes.)





REVIEW: Adventureland

27 09 2009

Adventureland” is a big slice of ’80s nostalgia pie served on a plate with no other embellishments.  I bother to make this mouthwatering comparison because for someone like me who didn’t live in the era, the movie doesn’t quite hit home.  Kudos to writer/director Greg Mottola for mastering the feel of the decade’s teen movies, but I felt like he packed it with ’80s inside jokes.  To set the record straight, I don’t mind watching movies where all the jokes don’t register with me.  I understand that only stoners can fully appreciate “Pineapple Express” and only musicians can feel likewise about “This Is Spinal Tap.”  Yet the aforementioned movies hold out a welcoming hand and draw you into a world which perhaps you are not entirely cognizant.  “Adventureland,” on the other hand, scorns those who did not live in its time, making me feel like an unwelcome outsider.

The plot revolves around James (Jesse Eisenberg), a recent college graduate forced to take a summer job at the Adventureland amusement park due to some unexplained financial troubles.  The cast of characters he has to deal with are a stark contrast from those he encountered at Oberlin, from the penny-pinching park owners (Bill Hader and Kristen Wiig, “SNL”) to the high-pitched squealer with a compulsion of punching between the legs.  Life is pretty miserable for James until the beautiful Em (Kristen Stewart) saves him from being stabbed by a fed up customer.  They slowly discover a deep affection for each other.  But ultimately, they find out that they don’t really know what they want.  Em has an affair with the married Adventureland janitor Connell (Ryan Reynolds); James goes out with chatterbox Lisa P. during a brief break in his relationship with Em.  Their relationship is marked by vacillation, which would be refreshingly realistic if it didn’t get caught in a mire of clichés.

Just a rhetorical question: is it a recurring theme of 2009 comedies to have hilarious supporting characters that get no screen time?  Jonah Hill and Jason Schwartzman in “Funny People,” as well as David Koechner in “Extract,” provided the best (in Koechner’s case, the only) laughs of their respective movies but were seen criminally little.  The same goes for Hader and Wiig in “Adventureland,” who light up the screen with their zany characters during the limited time that we see them.  Unfortunately, Mottola nails these characters and not any of the more prominent ones.  James feels like a slightly less pathetic Michael Cera.  Em is somewhat more realized, and Stewart does her best to flash her acting chops in the role.  She gets the fact that Em is an enigmatic girl, yet Stewart’s transparent portrayal doesn’t do this side justice.  The absolute worst is Ryan Reynolds’ Connell, a subplot so poorly written it hurts to watch.  Ryan Reynolds seems to be having a dreadful time, constantly asking himself, “Why did I do this movie?”  Mottola’s “Adventureland” is a styling love story of the ’80s, but his infatuation blinds him from creating anything that transcends the confines of his favorite decade and still holds meaning for those who didn’t live it.  C- / 1halfstars





REVIEW: The Proposal

8 08 2009

I hate re-runs, so I will spare you my rant on the predictable nature of the romantic comedy.  And although it is caught up in some typical clichés, “The Proposal” manages to succeed in spite of them.  The movie provides decent fun for all, offering many solid laughs.  Sandra Bullock makes a welcome return to the genre where she belongs, and she has great chemistry with Ryan Reynolds, who is surely headed for Hollywood superstardom.  The way that they are able to play off of each other’s energy is really what makes the movie work.

Margaret Tate (Bullock) is an uptight book editor who treats her workers like garbage, especially her dedicated assistant Andrew Paxton (Reynolds), who has aspirations to inspire people with his own writing.  But Margaret has a problem: she has put off her immigration lawyer in favor of her work so many times that her application to renew her visa is denied.  To avoid deportation, she forces Andrew to marry her on the threat of ruining his career.  After three years of being Margaret’s assistant, Andrew knows everything about her.  She, of course, knows nothing about him.  To change that, they go to Andrew’s grandmother’s 90th birthday weekend celebration in his home state of Alaska.  Margaret’s big city working girl attitude clashes with the slow small-town attitude of Andrew’s family.  At first, the family is puzzled by his engagement to the woman he loathed.  But eventually, his mother (Mary Steenburgen) and grandmother (Betty White, TV’s “The Golden Girls”) accept it, but his father (Craig T. Nelson) cannot.  As time goes on, Andrew and Margaret begin to open up to each other and realize that there is something different than expected behind their working exteriors. Read the rest of this entry »