Paul, the new comedy movie staring the always lovable duo of Simon Pegg and Nick Frost, is filled with non-stop sci-fi references that are sure to make any fanboy feel like Luke Skywalker inside Han's Tauntaun, nice and warm. Sadly, the frequent (and occasionally hilarious) pandering to nerds of all affiliations, is not enough to save this movie from a striking lack of creativity.
The picture, directed by Greg Mottola (of Superbad fame) and written by Frost and Pegg, suffers greatly from a lack of coherent vision. It simply refuses to settle into a consistent tone, jumping wildly, haphazardly, and rarely successfully between being a loving homage to classic science fiction flicks and a poorly constructed raunchy road trip. The set-up is decent enough. Two British, goodhearted, comic book loving man-boys arrive in the United States in order to visit key sites of alien encounters and along the way, they bump into a real life alien of their own. Frost and Pegg, clearly playing geeked out versions of themselves, bring a congenial air to the proceedings. But Seth Rogen, voicing the CGI generated Paul, seems sorely out of place. Rogen's (now somewhat tired) brand of foul mouthed smugness seems heavy against both the lightness of his human companions and the animation of the extra terrestrial. Of course, the comedic shortcomings of this flick do not rest solely on Rogen's voice over work. The script itself is often lazy, taking easy, unfunny, and somewhat offensive pop shots at tired American cliches, such as but not limited to, rednecks, Christians, and anyone living in or around a trailer. Adding insult to injury, the movie's running gags are often only mildly amusing, growing tiresome as the film progresses. Pegg and Frost have proven that they are more creative than run of the mill red state caricatures and poorly conceived breast humor.
Possibly the best thing to come from the Paul set.
The cast supporting the main trio is a mixed bag. Jason Bateman is pitch perfect as Agent Zoil, the main government official tracking down Paul. Batman hits line after line, using his hilarious deadpan timing. Kristin Wiig on the other hand is barely able to bring life out of her character. Though she seems to be genuinely trying, her SNL skill set is unable to overcome such a weakly written love interest. Bill Hader and Joe Truglio, do a passable job as bumbling operatives stumbling into the conspiracy, but rarely do the two generate anything above chuckles. Truth be told, the majority of laughs in this film come from the barrage of send-ups to beloved sci-fi classics. The more you know and or love Star Wars, Star Trek, Close Encounters of The Third Kind, E.T., Alien, Predator, The X-files, or any other alien production with a cult following, the more likely you are to laugh. Still, simply referencing these properties is not enough. As Shaun of The Dead and Hot Fuzz (both hilarious Frost/Pegg collaborations) display, great genre spoofs must rise above name dropping and fully commit to the style they are emulating. In the end, Paul fails because Mottola refuses to go all in with the old school sci-fi vibe that the movie flirts with. Rather than attempting to be innovative, or at least trying to comment on the genre, Mottola chooses to return to his safe zone of crude sarcasm. The result is Paul, a movie that leaves the audience with a few laughs and the distinct feeling that all parties involved could have done so much better.
Ed Helms is a likable guy. His wonderful comedic turns in The Office and The Hangover aptly prove that the man can generate big laughs. Walking into Cedar Rapids I was excited to finally see Helms get a chance to take the lead. Walking out I was dissappointed at how badly the script and direction squandered his talent.
via radioplanet.tv
The plot of Cedar Rapids centers around Tim Lippe (Helms) who must travel to Cedar Rapids to represent his local insurance firm at a regional insurance convention. In doing so he leaves behind his mundane life, and his (much older) girlfriend, played rather stiffly by Signourney Weaver, for a chance to make his boss proud. When Tim arrives at the the hotel where the gathering is taking place he eventually makes friends with a small band of other insurance agents who show Tim how to have a good time and from there the comedy ensues. Or at least it's supposed to. That's the problem with Cedar Rapids. As a viewer you keep waiting and waiting for the real comedy to start, when in reality, it never comes. It's like getting an endless supply of chips or bread at a restaurant but never eating the meal you ordered. Unsatisfying.
Helms and Co. do a fine job trying to generate laughs where they can (John C. Reilly is especially good) but the script doesn't give them that much to work with. Even the enjoyable chemistry between Tim and Joan (played to perfection by Anne Heche) gets stifled by the proceedings. Director Miguel Arteta (who also directed the barely ok Youth In Revolt) and writer Phil Johnston have likable characters and a seemingly engaging premise, but they drop the ball. The movie can't decide whether it wants to be an all out crude comedy or an "quirky" indie flick. Unable, to develop a consistent tone the film fails on both counts. The movie has a few moments here and there that will make you chuckle but overall one can't help but feel like Arteta missed a golden opportunity with such a talented cast. Maybe next time Mr. Helms will get the movie his talents warrant.
With a title like Monsters one would be forgiven for expecting writer/director Gareth Edwards' feature film to be an over the top ode to the classic creature flick of yesteryear. Oh, how wrong one would be.
Instead, Edwards' and company have delivered something far greater, a science fiction film that dares to take the action slowly. Set in modern times, the film takes place in an alternate universe in which giant extraterrestrial life forms have inhabited Central America for years. Since humanity has been unable to rid the region of these beings, the local governments have created an "infected zone", spreading from Costa Rica to a giant wall surrounding the United States, which is shut down from human travel every year while the creatures mate. The action of the film is generated by Andrew Kaulder, a photojournalist who must help get his bosses' adult daughter safely to the United States before she is stuck in the infected area. At first, the characters seem somewhat stiff and unbelievable but as their relationship of necessity advances, the actors settle into an enjoyable groove, and actually generate some excellent chemistry. This relationship is enhanced greatly by Edwards pronounced understanding of tone and rhythm. Rather than continuously bashing our heads in with perfunctory bedlam and noise, Edwards taunts the audience with it's alien creatures. By doing so, the movie allows the viewer to become attached to the two main protagonists while at the same time building eerie tension. In this way, when the monsters do appear it seems exciting and horrifying all at once. It should be noted that Edwards, who did all of the special effects work himself, doesn't not fall into the trap of overusing CGI, but instead chooses to use this digital wizardry to create a natural and realistic visual portrait. As a cautionary note, some viewers may be frustrated by the film's ending (I thought it was fantastic) but even still I believe the merits of the film outweigh any ill-spirit generated by the conclusion. Overall the film is an interesting mix of Jurassic Park, District Nine, and Before Sunset, that results in a memorable indie sci-fi journey. Thankfully, this is one picture where the human spirit is not overshadowed by the titular monsters.
Grade: B+
If you're interested in the film already, then skip the trailer, it gives away little too much away for my taste, but if you need to see more, or just don't mind seeing things ahead of time then check the video below.
Within this blog the majority of topics discussed deal with the creative arts. In my mind books, movies, music, and all of the arts are an essential element of the human experience, providing both release and reprieve from the mundane aspects of life which the current corporate mindset generates in the individual. Sadly, one need look no further than the multiplex (or the theme park that Broadway has become) to realize that the creativity which drives such important expression continues to run in shorter and shorter supply. The following video is of a brief speech given by Sir Ken Robinson on the role of educators in fostering the creative process. For anyone who has even the slightest passion for the arts, or finds distinct value in the exercise of creativity, this video should not be missed!
I like to think that the medium of film serves many functions. It can entertain, inform, and transport a viewer like few of the creative arts. George Nolfi's The Adjustment Bureau serves as a reminder that movies don't always have to be dark and ominous in order to be exciting. I found Nolfi's picture, starring Matt Damon and Emily Blunt, to be a fantastic throwback. A motion picture that encourages the viewer to enjoy a romantic adventure that is free of the cynicism and grittiness that seem to be prerequisites for modern film culture. I loved every minute of it. In the interest of full disclosure, I can already sense that many people will not find this film nearly as enjoyable as I have. To some extent, this response is fair. Unlike the advertisements, The Adjustment Bureau, is not a thriller in the vein of Christopher Nolan's Inception. Instead, the audience is treated to a classic romance, similar in tone to classic Jimmy Stewart films, but with an element of science fiction and fantasy. If you are not willing to accept the fantastic, the supernatural, and the unbelievable then this film is certainly not for you. Furthermore, the ending of the film is decidedly rushed, not quite fitting the journey that we've taken with the two protagonists. But by that point I had been delighted too much by the characters and the whimsical tone of the film to even care.
Speaking of the main characters, Damon and Blunt are fantastic together. The chemistry that these two actors bring to the screen is palpable and truly exciting to watch. Even when the film threatens to lose the viewer in ridiculousness the two leads, particularly Matt Damon, are there to keep the events grounded in humanity. The plot itself is straight forward and no one is going to be surprised by the "twists" (if you can even call them that), but the true magic of the film comes not from trying to figure out whats going to happen in the end, but instead just letting the movie sweep you up in the adventure. In this sense, the film is reminiscent of Wanted, in that it is able to rise above the absurdity of its premise and generate a fun ride for those that are willing to take the plunge. I have to say that first-time director George Nolfi does a superb job at weaving romance and suspense, while maintaing a consistent tone. It was refreshing to be able to actually watch the action on the screen instead of being dazed and confused by rapid editing and loud explosions. I could gush over this film all day, but instead I'll just say that this is one of my favorite films of 2011. If you have a taste for fantasy, classic adventure, or character based romance than do not hesitate to go see The Adjustment Bureau. If you're like me, you'll leave the theatre with a grin on your face, happy to be reminded that the movies can still take you through a door to another world.
Rodrigo Cortez's film Buried, presents a seemingly interesting conceit. A young truck driver in Iraq is kidnapped and buried in a box somewhere in the desert. For the sake of honesty, you should really know that the entire film takes place in this box. Depending on your taste in film this either sounds like an exciting filmmaking challenge or a stupid idea that limits the dramatic potential of the picture. Well, truth be told, it's a little bit of both.
The first 45 minutes of the film (about half of the movie) is not very strong. The writing and decision making of the main (read only visually seen) character is extremely suspect. Ryan Reynolds gives a fine performance, but the fact of the matter is that he is not given much to work with. In my mind, the first half of the film lacks coherent logic and instead chooses to rest upon audio cues and visual tricks to heighten suspense. Though some of these moments are executed to perfection, they feel forced and artificial, leaving the viewer with the feeling that Buried is more like an extended film school project than a full fledged and well designed thriller. In terms of creating a claustrophobic psychological study, Coretz falls short of true success. One can say with certainty that the film is similar to 127 Hours but unlike Danny Boyle's films, Buried is not artistically or viscerally satisfying. As well, the political message of the film is poorly presented. Like Paul Greengrass' The Green Zone, Buried is heavy-handed with it's presentation of the Iraq War. Rather than treating the viewer like an intelligent human being, the film force-feeds it's message, thereby diluting it's power. If you're interested in a solid piece of political-thriller filmmaking that will not insult your intelligence, I highly recommend The Ghost Writer.
With all of this said, it should be noted that the second half of the film, particularly the final 20 minutes, is extremely engaging. The audience finally feels like they are part of the action rather than a passive observer of this poor man's desperate situation. Also, the story finally starts to present some interesting dilemmas and twists. Still, it's too little too late and the viewer is left wishing that Cortez would have simply used the final portion of the movie to create an engaging short film. In the end, Buried is a weak entry into the thriller genre.
Life, death, redemption, and the southern landscape. These are the main ideas and motifs that drive the action in Aaron Schneider's first directorial feature, Get Low. The main premise of the film is that an old curmudgeon, played to perfection by Robert Duvall, wishes to have his own funeral while he is still alive. The film is visually appealing, showing a distinct aptitude for the use of light and dark in order to convey emotion in the characters. It also doesn't hurt that the settings presented in the film are beautiful, large wood crafted churches, intermingle with vast, untouched landscapes, and large white colonial houses, to paint the picture of world not yet tarnished by the pollution of modern man-made life. Even though the setting is picturesque, the plot of the film is rather straight forward, and occasionally too thin. However, the fine actors that Schneider assembled serve to raise the film above it's humble story.
Robert Duvall is a pleasure to watch in the lead role of Felix Bush, while Bill Murray turns out yet another hilarious and nuanced character in his portrayal of Frank Quinn. When I say that he wouldn't have been out of place in some sort of Wes Anderson inspired, Coen Brothers directed western I mean that as a very high compliment. The final piece to this delightful acting trifecta is Sissy Spacek, whose character, Mattie Darrow, is both strong and vulnerable, providing an excellent display of the complexity that exists in the human experience. The only weak part of the cast is Lucas Black, who plays the young idealistic foil to Robert Duvall's grumpy old brute. Black can't really hold his own standing among the veterans. At the same time, it should be said that Black's role is extremely weak. While his character should be the eyes through which the viewer understands the action, he is simply too underdeveloped and too uninteresting to invest yourself in. In the same vein, the movie itself has major issues of rhythm. The film takes a solid 20 minutes too long to get going and even when it does the editing and writing create unnecessary confusion in the viewer.
On the other hand, the score for the film is pitch perfect, building and easing tension with the southern charm that only string basses and banjos can bring. Overall, the film keeps you interested but comes across as underdeveloped and somewhat of a waste of such a talented cast. I wanted to love Get Low but I left feeling only barely satisfied.
While watching Catfish, two thoughts kept running through my head. First, Hitchcock would be proud. Second, finally a movie that actually understands the role of social networking in our lives. This film is presented as a documentary, and the filmmakers are sticking to their guns, claiming that this is a work of non-fiction. Either way, Catfish is an entirely engrossing, engaging, and entertaining docu-thriller. The way the filmmakers use different forms of modern technology to weave their twisty little tale is fascinating to watch. Catfish stands as both a nod to the past and a strong look toward the future of filmmaking. In terms of the past, the film displays an acute understanding of the fundamental techniques (the subtle use of musical cues to build tension combined with quick breathes of comedic relief) that will make an audience clinch their fists and writhe in their seats, wanting, and at the same time not wanting, to witness the coming revelations.
However, the film also comes across as strikingly modern. The character's display a wit and awareness that is markedly current. Furthermore, the presentation of technology comes across less as a gimmick (I'm looking at you Paranormal Activity) and more as an accurate portrayal of the way that the both the Internet and other advancements have slowly invaded and integrated into our daily lives. In the end, I found Catfish to be an excellent little film. The movie was not only entertaining, but it also engaged the viewer, forcing them to question both the contents of the film, and themselves. I know this film looks odd but if you're in the mood for an above average thriller in the Hitchcock tradition, I highly recommend Catfish.
Sometimes when a T.V. show first hits the air, it doesn't quite have its mojo yet. Maybe the characters don't really mesh, or perhaps the show hasn't found its focus. Still, there's something about it that keeps you coming back each week. For me this description easily applied to Nathan Fillion's Castle. Though the series has always been fun to watch, it often felt like it hadn't found itself yet. However, the episode that aired this past Monday, kicked the show into a whole other gear. Instead of resting solely on Fillion's charm, this episode weaved an engaging narrative that showcased just how awesome this show can be. Now, I know that a procedural show can't always have epic episodes. That said, I think Castle may finally be growing into the show we all hoped it could be. So, if you've been on the fence about ABC's Castle, I highly recommend you hop on board, because it's getting good.
And, just in case you don't believe me, I've included both parts of the two part event below. Now what's your excuse for not watching?
