The Pirates! Band of Misfits

Posted on April 26, 2012 at 6:00 pm

B+

Lowest Recommended Age:	Kindergarten - 3rd Grade
MPAA Rating:	Rated PG for mild action, rude humor, and some language
Profanity:	A few bad words ("crap")
Alcohol/ Drugs:	Scene in bar
Violence/ Scariness:	Comic action-style violence
Diversity Issues:	Diverse characters
Date Released to Theaters:	April 27, 2012
Date Released to DVD:	August 27, 2012
Amazon.com ASIN:	B0034G4P1W

The Pirate Captain (Hugh Grant) enjoys his life of adventure on the high seas, but there are a few problems. His crew is having a spirited debate about the best part of pirating – is it the cutlasses, the looting, the chance to catch exotic diseases, or ham night? Queen Victoria (Imelda Staunton) has ordered the Royal Navy to get rid of all pirates.

Most important, the Pirate Captain really, really wants to win the coveted “Pirate of the Year” award, reasoning that because “Every time I’ve entered, I’ve failed to win. So, I must have a really good chance this time!” He does have a coffee mug that says “World’s Best Captain” and once won a ribbon for telling the best anecdote about a squid.

The wonderful folks at Aardman (“Chicken Run,” “Wallace and Gromit”) have created another deliriously silly stop-motion animation delight, filled with giddy pleasures and so many witty details flying by that you wish for a pause button. The “Pirate of the Year” application is whisked away quickly, but we get a glance at some of the items requested. Was the booty acquired by exciting adventure, a beauty contest, or perhaps in exchange for bonds? And what is the quality of the beard?

The Pirate Captain’s beard is certainly glossy and bushy enough to win a prize, but – it must be said – he is not up to some of the other candidates in other categories. Black Bellamy (Jeremy Piven), Peg Leg Hastings (Lenny Henry), and the bling-sporting beauty Cutlass Liz (Salma Hayek) are out front when it comes to ruthlessness, treasure, and the price on their heads. The Pirate Captain’s wanted poster shows a reward of just 12 doubloons and a free pen. He is not very good at selecting targets for robbery and pillage, boarding a ghost ship, a leper ship, and a boat carrying a school geography field trip.

The prospects for Pirate of the Year seem dim until the Pirate Captain boards another booty-less boat, this one carrying Charles Darwin (David Tennant), who recognizes that the Pirate Captain does have one important asset. It seems the Pirate Captain is as poor at ornithology as he is at treasure-detection. The bird he has insisted is a big-boned parrot named Polly is something much more exotic, and if he presents it to the scientific association and wins their Scientist of the Year award, the fame and fortune just might qualify him for Pirate of the Year!

But others are interested in the bird. Darwin and his trained monkey manservant Mr. Bobo, who communicates entirely via hilarious cue-card style signs and Queen Victoria herself want Polly as well. The various captures and rescues involve various disguises and Aardman’s sublimely inventive chase scenes, combining Rube Goldbergian intricacy with Jackie Chan timing. They also manage to bring in Jane Austen, the Elephant Man, Rubik’s Cube, The Clash, the classic elementary school science experiment combining vinegar and baking soda, and gourmet dining.

The pleasures we expect from an Aardman film are all here, including humor that manages to be both wild and understated. The silent Mr. Bobo, cautioned to be quiet, patiently holds up a second sign repeating the same word, but smaller. And the brilliantly executed action sequences dazzle. The chase scene through Darwin’s house has split-second timing through a museum’s worth of artifacts, including an Easter Island head. The bright and eclectic soundtrack includes very funny new song from Flight of the Conchords. And in the midst of all the action and comedy there is some warmth, even tenderness, as those clay faces become surprisingly expressive, and a moment of friendship and loyalty is genuinely touching.

The British Aardman refreshingly makes few concessions for American sensibilities (only the most devoted Anglophiles will catch the Blue Peter and Slocombe references) and none for children. Gideon Defoe’s screenplay, based on his series of books, is filled with the kind of humor that challenges as it amuses. But the distributor decided that Americans would be put off by the original title. It was released in the UK as “The Pirates! In an Adventure with Scientists!” both funnier and more accurate. The switch to a more “marketable” generic title is disappointing for a film that so amply rewards its confidence in the audience.

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The Five-Year Engagement

Posted on April 26, 2012 at 6:00 pm

Jason Segal co-wrote and stars in the latest in a genre he helped to pioneer — the raunchy but sweet-natured romantic comedy. Films like “Forgetting Sarah Marshall” and “I Love You Man” put the misunderstandings and complications of the kind of “marriage plot” comedies over hundreds of years with a more modern casual and generous earthiness. You can’t imagine Doris Day and Rock Hudson laughing at an engagement party audio-visual presentation about all of the girls the groom has had sex with or talking affectionately but frankly about how a gesture of support from him should lead to some major sexual special favors from her. “Do you want me to wear a cape or something?” she asks gamely (the characters in Segal movies are always GGG). “You’ll get the Cirque du Soleil of shows,” she promises with a smile, showing off some impressive mime skills.

Tom (Segal) proposes to Violet (Emily Blunt) on New Year’s Eve, exactly one year from the night they met. They are very compatible, loving, and happy together, and excited about getting married. But he has a job opportunity near their home in San Francisco and she has one at the University of Michigan in Ann Arbor. His skill as a chef seems more portable and the Michigan job is just two years, so they decide to move. She flourishes in the post-doc program in social psychology and he has poor results in looking for a job, finding friends, and scraping snow and the strain begins to wear on their relationship.

At just over two hours, the movie at times feels as though it is dragging. I know it has to cover five years, but a section where Tom goes kind of feral and ends up hunting deer with a cross-bow is much too long, especially when Tom goes all Grizzly Adams and starts serving mead made from his own honey from an antlered stand. There are too many flashbacks to the night they met. Supporting characters played by Chris Parnell as a stay-at-home-dad who knits, and Kevin Hart and Mindy Kaling as Violet’s colleagues are never as funny as they are intended to be. And it feels like Segal and co-screenwriter/director Nicholas Stoller ran out of ideas near the end as the obstacles to the wedding get less believable, less interesting, and more out of character.

The family interactions work better. Violet’s father gets up at the engagement party to propose a toast to the importance of commitment — awkwardly standing next to his young second wife. Then Violet’s mother gets up to explain that you may think your relationship is a Tom Hanks romantic comedy but “in reality, it’s more like ‘Saving Private Ryan.'” The combination of mystification and jealousy Tom and Violet feel towards another couple they are close to is sharply observed. They genuinely do want her sister and his best friend to be happy together, but they know they are smarter and have a better relationship so it is maddening that the other couple seems to be lapping them. Twice.

The movie is also nicely even-handed in its portrayal of most of the conflicts Tom and Violet face and their genuine good spirits in trying to resolve their issues. When they have a “bird in the hand” argument about delayed gratification (the subject of Violet’s academic work), they are both allowed to make good points.

One reason romantic comedies are so difficult to get right these days is that it is harder and harder to find a reason to keep the couple apart for the two hour running time. The conventions of the pre-sexual revolution era made possible all kinds of humorous and spicy near misses in movies and our knowing that the couple could not have sex until marriage set the stakes high. Couples had to find other ways for establishing their compatibility to each other and the audience. Today’s movies and television shows portray endless omni-sexual cuddle puddles, with encounters that are zipless but never really intimate. Lena Dunham’s “Girls” and its anti-“Sex and the City” is called “authentic” for showing sex that is joyless at best and degrading at worst. It is intriguing to see Segal and his contemporaries reconsidering the implications of this approach on the romantic as well as the comic side.

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Related Tags:

Comedy Romance

The Lucky One

Posted on April 19, 2012 at 6:31 pm

Director Scott Hicks pours enough syrup over this film to supply an IHOP. Every shot of the golden sunlight on the Louisiana bayou or the perfectly tousled angelic curls of the perfectly precocious angelic boy or the perfect smile of the beautiful kennel owner and substitute teacher played by Taylor Schilling or the perfect muscles of the beautiful former Marine who seems to be channeling “as you wish” Westley from “The Princess Bride” all but drips with syrupy sweetness. Then there is the aural candy of the many pop songs on the soundtrack. This is outdone by the storyline, which matches the sugar content of the visuals with a synthetic and coincidence-heavy plot. But that doesn’t mean it it not a pleasant movie-watching experience in a greeting card commercial sort of way.

It helps that Zac Efron and Schilling are talented and attractive performers with good chemistry. Efron plays Logan, a Marine on his third tour who finds a picture of a beautiful girl half-buried in the sand. It becomes his lucky talisman. When he finds himself back at home, not sure who he is or where he belongs without his team and traumatized by loss, he decides to find the girl in the picture and thank her. He walks from Colorado to Louisiana with his dog, Zeus. Instead of telling her why he is there, he ends up working for her, helping to care for the dogs and also looking very handsome as he lifts things and fixes things. Schilling is Beth, who lives with her grandmother (Blythe Danner) and her 7-year-old son Ben (Riley Thomas Stewart), a violinist and chess whiz. Beth’s ex-husband Keith (Jay R. Ferguson) is a bully of a cop who is volatile, possessive, and jealous. As Logan and Beth are more drawn to one another, Keith threatens to sue for custody of Ben to keep him away from them.

“The questions are complicated but the answers are simple,” Logan says when Beth challenges him to quote his favorite philosopher. “Voltaire?” she asks. “Dr. Seuss,” he answers. Logan, who has accepted a job cleaning up after dogs because it is “peaceful” may understand that simple does not mean superficial better than Nicholas Sparks, author of the book and director Hicks, who seem determined to keep things safely formulaic.

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Related Tags:

Based on a book Drama Romance

Think Like a Man

Posted on April 19, 2012 at 6:17 pm

A gimmicky best-selling book about love, sex, and marriage has been made into a high-concept romantic comedy with an all-star cast. “He’s Just Not That Into You”? No, that was so 2009. This time the inspiration is the book by stand-up comic and talk show star Steve Harvey, Act Like a Lady, Think Like a Man: What Men Really Think About Love, Relationships, Intimacy, and Commitment. The advice is the same — the stunningly obvious and yet too often ignored principle that people will treat you the way you insist on being treated. If you expect a man to open the car door for you, he will — and he will recognize that you are a woman who deserves respect and courtesy. If you give it up within an hour of meeting him or continue to live with him without any prospect of building a real home and family together, he will think you do not honor yourself and he will not honor you. And some women need to learn to choose their men by their hearts, not their resumés. Both men and women need to learn that lesson in this ensemble story about a group of friends and what happens when the ladies take Harvey’s advice — and then when the men find out what is going on and try to turn the tables.

At the most superficial level, the movie is suitably entertaining, with beautiful and talented performers coping with a range of romantic challenges. There’s a player named Zeke (Romany Malco) and Mya (Meagan Good) who wants commitment. There’s Lauren (Taraji P. Henson), a very successful female executive who wants a “suitable” consort. An aspiring chef (Michael Ealy as Dominic) does not fit her PowerPoint-worthy strategic plan.

A “mama’s boy” who brings his mother along on a Valentine’s Day dinner (Terrence J) has to decide if he can allow another woman (Regina Hall as single mom Candace) to come first in his life. And Kristen (Gabrielle Union), who feels as though the place she shares with her boyfriend (Kevin Ferrara as Jeremy) is a frat house, wants a home that looks like grown-ups live there — starting with getting rid of the disgusting old sofa. The group is rounded out with a happily married guy and pepper pot Cedric (Kevin Hart) who is in the midst of a miserable divorce and self-medicating his hurt feelings with visits to strip clubs.

The cast gives the usual rom-com banter as much sizzle as they can, and there is a whole second level of pleasure just in seeing these stars get a chance to play romantic leads. Malco, terrific as a doorman in “Baby Mama” and a sidekick in “The 40 Year Old Virgin” makes an assured transition to leading man and Ealy has an enormously appealing screen presence. King, Union, and Hall should all be doing the roles that get sent to Katherine Heigel. It is good to see an almost all-black cast get a chance to make a glossy romantic comedy but it would be great to see them do something more than the usual multiplex formula. A few Tyler Perry jokes (however welcome) are not enough to make this feel anything other than disappointingly generic.

Related Tags:

Based on a book Comedy Romance

Blue Like Jazz

Posted on April 19, 2012 at 6:05 pm

B+

Lowest Recommended Age:	Mature High Schooler
MPAA Rating:	Rated PG-13 for mature thematic material, sexuality, drug and alcohol content, and some language
Profanity:	Some strong language
Alcohol/ Drugs:	Drinking and drugs
Violence/ Scariness:	References to tragic world situations, family stress
Diversity Issues:	A theme of the movie
Date Released to Theaters:	April 20, 2012
Date Released to DVD:	August 6, 2012
Amazon.com ASIN:	0785263705

Donald Miller’s best-selling collection of essays, Blue Like Jazz: Nonreligious Thoughts on Christian Spirituality has become a crowd-financed and lightly fictionalized film about a Texas teenager from a sheltered Baptist community who goes to the famously free-thinking Reed College in Portland, Oregon.

Marshall Allman of “True Blood” plays Miller, whose Alice in Wonderland-style immersion in a world where everything is questioned and debated is disturbing the way jazz music is disturbing — it never resolves. In Texas, the answers were always laid out in nice straight lines. Everything resolves. Miller’s estranged father, an intellectual who listens to jazz and lives in a trailer, tells him it is time to improvise, to challenge his ideas. His father has arranged for him to be admitted to Reed. When Miller begins to suspect for the first time that not everyone practices what they preach, even at church, he decides to give it a try.

“Forget everything you think you know,” he is told when he arrives. “Sexual identity is social construct,” explains a girl who is using the urinal next to him in the men’s room. One student is handing out free bottles of water and another is handing out literature explaining why bottled water is a scourge and a fraud. Students get credit for civil disobedience. Even his most mundane beliefs are challenged: no one in Oregon carries an umbrella when it rains. Why separate yourself from the elements?

The script by Miller, director Steve Taylor, and co-producer Ben Pearson, smooths out the story (the real Miller did not arrive at Reed until he was 30 and he audited some classes but did not enroll). They wisely avoid the easy and obvious “fish out of water” confrontations. Refreshingly, Miller and his classmate heretics are from the beginning almost always very tolerant of each other’s ways of approaching the world. Indeed, while Miller is warned that the other students may not accept his faith, the most intolerant behavior comes from Miller when he feels betrayed in a very personal way by his church (the film’s only disappointing departure from the real story for the sake of narrative tidiness).

This is a very strong movie in its own terms, a thoughtful, smart, sensitive coming-of-age story. Reedies will enjoy familiar sights from Powell’s bookstore (the site of a debate about the existence of God) to the scroungers’ table in the cafeteria. Most important is that just as Miller’s book explores an expansive, golden-rule-based version of Christianity, the film itself takes sincere, faith-based story-telling out of the narrow confines of what is currently classified as “Christian entertainment.” The real divide is not between believers and non-believers but between those who believe that questioning and tolerance bring them closer to God and those who prefer constant reinforcement of what they think they already know. The vocabulary of faith should not be the exclusive property of one small subset of believers, and it is heartening to watch a movie that makes that point with such grace.

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