The writer of the delightful Clockstoppers has written and directed an unpretentious little comedy about a crazy “sport” — racing boxes on wheels. It makes the most of its low budget with an easy-going good humor in this goofy but sweet story about two teens who accidentally invent the “boxboarding” and end up in a big race against their nemesis. And of course it also involves getting a little bit closer to the girls they like.
The young cast performs with gusto, ably assisted by top adult character actors like Stephen Tobolowsky as the ever-patient psychologist dad and “The Office’s” Melora Hardin as a litigator always eager to go to court. Clearly, everyone had a blast making the film. One of the DVD’s highlights is an entertaining making-of featurette that I hope will inspire those who watch it not to try taping a refrigerator box to a skateboard but to pick up a camera and make a movie.
Parents should know that in addition to the completely idiotic and very dangerous “sport” in the film, it also has some bad language, teen partying, and sexual references.
Rated R for pervasive language, drug use, sexual references and violence.
Profanity:
Constant extremely strong, vivid, profane, and crude language
Alcohol/ Drugs:
Characters are drug dealers and characters are habitual drug abusers, drug use by adults and young teenagers
Violence/ Scariness:
Very graphic blood-spattering violence, many characters injured and killed
Diversity Issues:
None
Date Released to Theaters:
August 8, 2008
Another week, another Apatow movie. Another Apatow movie, another story of lame, pot-smoking slackers up to all kinds of hijinks and discovering the true meaning of friendship.
Sigh.
Comedy is often grounded in the pleasure of seeing someone get away with bad behavior we are not allowed to enjoy or seeing someone safely other than ourselves squirm through a nightmare scenario of humiliation and failure. This kind of comedy has an essential and revelatory childishness that reminds us, sitting comfortably in our stadium seating, how fine the line is between how we try to appear and what we are really thinking.
But whether that is slapstick like the Three Stooges bashing each other or outrageous behavior like Howard Stern’s radio show, there has to be something that keeps us on the side of the anti-heroes and this movie runs out of goodwill long before the finish. In The 40-Year-Old Virgin the leading man was a decent guy who just somehow missed one of the essential off-ramps to adulthood. In Superbad we get to witness one of those efforts to make it to the off-ramp as it happens. Adolescent behavior is expected when the characters are actual adolescents. But in this movie, most of the characters are unappealing, generic, and just too skeezy.
Except for James Franco. Casting directors take one look at those cheekbones and assign Franco to the brooding category. One of his early break-out roles was the broodiest of them all, the lead in a made-for-television biopic about James Dean. More recently, he smoldered his way through the “Spider-Man” movies as best friend/rival/nemesis Harry Osborn. Only Apatow saw Franco’s gifts as a comic actor and cast him in “Freaks and Geeks.”
As Saul, a sweetly stoned dealer who just wants to take care of his Bubbe, watch some television, and make some friends, he turns in one of the choicest comic performances of the year, making every moment about more than just being dim or baked. When he says that smoking the super-potent strain of marijuana that gives the film its name is almost like “killing a unicorn” or is happily reminded, when he says he’d like a job that involved hanging around and getting stoned all day that that is exactly the job he has, or when he unexpectedly finds the mental capacity to come up with an astounding list of possible ways that the bad guys might track them down, he gives us a character who is enchantingly caught up in a world of perpetual possibilities.
Seth Rogan, who co-wrote the script, is far less interesting as Dale, a 25-year-old process server with a high school girlfriend who is vastly more mature than he is. He can see that even through the constant cloud of marijuana smoke, and that only makes him more insecure and needy — and juvenile.
A vicious drug dealer (Gary Cole) and a corrupt cop (Rosie Perez) come after Dale and Saul, and various other people get caught up in the chase, including a fellow dealer whose loyalties are rather fluid (a funny Danny R. McBride). Extreme and graphic violence is interspersed with various stoner riffs and random encounters, including Bubbe’s assisted living facility and a surreal suburban family dinner with the parents of the high school girlfriend. Franco continues to find fresh ways to engage us but Perez and Cole are drastically underused and Rogan is as stale as last week’s bong water. It’s not outrageous enough, it’s not audacious enough, and it’s just not funny enough.
Wall∙E’s curiosity about the world and capacity to feel loneliness is part of what makes him such a vivid character in Pixar’s latest hit. And nothing in the film conveys those qualities more effectively than his affection for the 1969 movie musical Hello, Dolly! It may be quaint and stylized but it perfectly suits the storyline, especially the numbers we see Wall∙E watch, with the characters singing about taking chances, trying out new experiences, and falling in love.”Hello Dolly!” was not successful on its original release. It was the victim of poor timing. First, though it was filmed earlier, the release was delayed because by contract it could not be in theaters as long as the play was running on Broadway. Second, it was released in 1969, when audiences were caught up in the political and cultural turmoil of the 60’s, and it felt too big (it is over two hours long) and out of touch. There was also some hostility to the casting of the 20-something Barbra Striesand in the title role, a character who is supposed to be middle-aged, replacing the star of the play, Carol Channing. But today it is easy to be as charmed as Wall∙E is by this story of four different couples taking a chance on love and the character who encourages them all and then has to learn a few lessons herself. Here are his favorite numbers: (more…)
“Definitely, Maybe” is the story of the three great loves of a man’s life. That’s “story” in the literal sense, as in the bedtime story he tells his young daughter, who wants to know how he met her mother and, implicitly, why they are getting divorced.
Ryan Reynolds plays the idealistic Will Hayes, who relives his romantic life after receiving his final divorce papers, trying to figure out how he got where he is and what to do next. His daughter Maya (Little Miss Sunshine‘s Abigail Breslin), just out of her first sex education class, asks him how he met her mother, and he answers by telling her about all three of the women he loved, making her guess which one became his wife. Both of them realize that it is not really how they met but a better understanding of what went wrong that matters.
Rated PG-13 for some rude humor, action violence and language
Profanity:
Some strong language
Alcohol/ Drugs:
Drinking
Violence/ Scariness:
Action-style and comic violence, guns, lasers, bombs, characters in peril
Diversity Issues:
Strong female character
Date Released to Theaters:
June 20, 2008
The big-screen version of the classic 1960’s television show created by Mel Brooks and Buck Henry is more than an update. It shrewdly tweaks the original, making its hero, Maxwell Smart (Steve Carell) smarter and more capable than the bumbling and befuddled but always game and confident spy played by Don Adams and ramping up the action, and the result is a refreshingly entertaining summer popcorn movie.
The television show could get away with a wilder, more slapstick tone. At the time, spy stories like the early James Bond and television’s The Man From U.N.C.L.E were wildly popular and ripe for parody. But fact and fiction have made the audience less easily dazzled by spycraft and the non-stop silliness of the “Naked Gun” and “Scary Movie” series have made the audience too familiar with that category of comedy convention. Movies are longer and special effects are bigger, so there is the time and capacity for some action sequences.
But the movie will also satisfy fans of the show with its most memorable characters and catch phrases. Carell does not copy Adams’ preeningly clueless characterization but brings his own take — still clueless, but more endearingly sincere. His Maxwell Smart is actually very good at what he does. He analyzes data. He’s a desk guy. But he wants to be a field agent and has worked very hard to get there. The Chief (Alan Arkin, exasperated) does not want to see his best researcher turn into his far-from-best field agent. But when the agents list is compromised and he needs someone whose name is not known to anyone, Smart gets his chance.
He is assigned to work with Agent 99 (Anne Hathaway), an experienced agent who has just had an identity reassignment including a new face. And the two of them are sent to track down a rogue weapons dealer (Terence Stamp, with the indispensable attribute of a bad guy: an English accent), his eastern-European henchmen, one of whom could be a body double for the Yeti.
The action scenes are exceptionally well-paced, genuinely exciting and often very funny. Carell makes Smart an appealing character, a bit of a Walter Mitty who is ideally (and literally) suited for a desk job but who dreams of making the kind of contribution that can only be made in the field. Arkin steps easily into Ed Platt’s shoes (yes the shoe phone makes an appearance) as the Chief and Dwayne (The Rock) Johnson brings the right combination of glamor and wit to the role of a top agent. And the casting for the Hymie character is so perfect I will not spoil it by saying any more.
It is about 20 minutes too long, with one too many set-ups, and the last one drags a bit. But fans of the television show will enjoy some riffs and references to its most popular gags and tag lines and those who are new to the characters will find a lot to enjoy.