As genuineily funny as he is, Steve Zahn cannot save a movie all by himself. I offer the following evidence, in reverse chronological order (God bless IMDb): Strange Wilderness, Sahara, Employee of the Month, Daddy Day Care, National Security, Chelsea Walls, Dr. Dolittle 2, and Saving Silverman. And that is only the new millennium.
Management isn't a truly bad movie (a Daddy Day Care, perhaps), but that's largely thanks to Zahn's goofy charm. He plays a variation on his usual theme; his Mike is amiable, but directionless. He works at his parents' motel in Arizona, and he doesn't seem to have had much human contact that hasn't been familial. When he sees the sophisticated Sue (Jennifer Aniston) check in, he's smitten, and one of film's most awkward attempts at seduction actually works, much to the surprise of both of them. But Sue leaves for her home in Maryland, leaving Mike to do the least logical thing imaginable (unless you're a stalker): he buys a last-minute plane ticket and goes to her office to find her.
That this only comes off as mildly creepy is all thanks to the harmless air that Zahn exudes. Their encounter won't end up on the evening news because all he wants to do is talk and, umm, touch her butt. Distance and an ex-boyfriend (Woody Harrelson) threaten the would-be couple's happiness, but Mike won't let a little thing like thousands of miles or threats from an ex-punk deter him from the woman he loves.
Even the most romantic member of the audience (you know, the one who thought she was seeing a "normal" Jennifer Aniston movie) would have doubts about this coupling. There's almost no basis for Mike's attachment, other than the fact that Sue appears to be the only attractive woman he's ever seen. Plus, Sue's acquiescence seems unlikely at best, and even Mike's proffered wine and champagne could only go so far.
For all the film's problems, there's Zahn, who appears to be in every scene. Though Aniston gets top billing (which I hope is only due to the alphabet), she's really a secondary character to his lead. Other co-stars, including character actress Margo Martindale as Mike's mother and a hilarious James Liao as his friend and partner in crime, make the film watchable and might even give Zahn a break from being the night's sole entertainment.
Tuesday, May 19, 2009
Tuesday, April 21, 2009
State of Play
Director Kevin Mcdonald's latest film has far less weight than his last one, the Idi Amin drama The Last King of Scotland, but perhaps that is by default, since State of Play doesn't dwell on genocide or torture. But this thriller, based on a BBC miniseries of the same name, is serious stuff, questioning the validity and the very existence of newspaper journalism in the age of on-the-ball bloggers and the 24-hour news cycle. Not to mention Blackwater-style mercenaries, the collision of personal and professional ethics, and political corruption...
While investigating a double murder, journalist Cal McCaffrey (Russell Crowe) discovers its connections to the death of a young woman who served as the research assistant and mistress to his college roommate, Congressman Stephen Collins (Ben Affleck). Of course, the three murders aren't as straighforward as they appear, and McCaffrey investigates the mazelike connections with the help of young political blogger Della Frye (Rachel McAdams). Not only does the pair have to race against the clock, as is common in political thrillers, but they're on deadline, and upsetting their strict, seething editor (a fantastic Helen Mirren) is almost as deadly as not finding out the identity of the killer.
As always, Crowe is capable in the role of the old-school-rooted journalist whose own colleagues don't even read his work. The character is cliched, but the actor is strong enough to move past the boundaries of the page. Though the excellent Gone Baby Gone made me wish for more Affleck behind the camera, he does a good job as the fallen, former golden boy of his party (which is, smartly, never named). At times, McAdams seems a bit too eager and broadly drawn, but she is charismatic enough to carry the role. Jason Bateman has a far-too-small part that proves he is just as adept with comedy as he is drama.
Tony Gilroy, Matthew Michael Carnahan, and Billy Ray all contributed to the script, and it's easy to see where their previous work (including Michael Clayton, The Kingdom, Breach, and Shattered Glass) has informed this screenplay. Political intrigue and journalism collide with action to produce a contemporary All the President's Men with a bit more gunfire for audiences weaned on high-octane thrillers and up-to-the-minute news updates.
While investigating a double murder, journalist Cal McCaffrey (Russell Crowe) discovers its connections to the death of a young woman who served as the research assistant and mistress to his college roommate, Congressman Stephen Collins (Ben Affleck). Of course, the three murders aren't as straighforward as they appear, and McCaffrey investigates the mazelike connections with the help of young political blogger Della Frye (Rachel McAdams). Not only does the pair have to race against the clock, as is common in political thrillers, but they're on deadline, and upsetting their strict, seething editor (a fantastic Helen Mirren) is almost as deadly as not finding out the identity of the killer.
As always, Crowe is capable in the role of the old-school-rooted journalist whose own colleagues don't even read his work. The character is cliched, but the actor is strong enough to move past the boundaries of the page. Though the excellent Gone Baby Gone made me wish for more Affleck behind the camera, he does a good job as the fallen, former golden boy of his party (which is, smartly, never named). At times, McAdams seems a bit too eager and broadly drawn, but she is charismatic enough to carry the role. Jason Bateman has a far-too-small part that proves he is just as adept with comedy as he is drama.
Tony Gilroy, Matthew Michael Carnahan, and Billy Ray all contributed to the script, and it's easy to see where their previous work (including Michael Clayton, The Kingdom, Breach, and Shattered Glass) has informed this screenplay. Political intrigue and journalism collide with action to produce a contemporary All the President's Men with a bit more gunfire for audiences weaned on high-octane thrillers and up-to-the-minute news updates.
Adventureland
Red band trailer aside, director Greg Mottola's Adventureland bears little in common with his previous effort Superbad. There's less raunch here, and a little more heart. It's like a slightly lesser, reverse version of Almost Famous, minus the rock star antics and including an excellent period soundtrack.
Set in Pittsburgh in 1987, Adventureland centers on James Brennan (Jesse Eisenberg), a recent college grad who finds his degree in comparative lit won't get him many jobs in the city while he bides his time waiting to go to grad school at Columbia. His last, best chance lies at Adventureland, a local amusement park, where his childhood best friend (and current ball buster) Frigo (Matt Bush) spends his days. Hired by Bobby (Bill Hader), James takes a bottom-of-the-barrel job working in games, where the sole bright spots are nerdy Joel (Martin Starr) and pretty Em (Kristen Stewart). Pot and alcohol fuel the summer fun, and James attempts to mend a broken heart and cure his unwanted case of virginity with help from Em.
There's plenty of fun, low-brow humor to be had in Adventureland, but there's more to it than pot cookies, erections, and kicks to the balls. Unrealized dreams lie at the heart of the film, which manages to straddle the gross-out comedy and coming-of-age genres remarkably well. A lot of credit goes to Eisenberg, whose awkwardness works just as well here as it did in The Squid and the Whale. He's likable, earnest, and relatable in his efforts to win over Em. Ryan Reynolds is excellent as the park's handyman, a musician who coasts on the story of how he played with Lou Reed. Hader and fellow SNL star Kristen Wiig also deserve praise for playing the strange couple who run the park. Both are far funnier than their work on the TV show would suggest.
Full of nostalgia, longing, and sincerity, Adventureland might have played better in the theatrical deadzone of August, when its end-of-the-summer feeling would have already been thick in the air-conditioned theaters. Unlike most of its would-be kin, this is a comedy dependent on its nicely crafted characters and mood, not just on the merits of its dirty jokes.
Set in Pittsburgh in 1987, Adventureland centers on James Brennan (Jesse Eisenberg), a recent college grad who finds his degree in comparative lit won't get him many jobs in the city while he bides his time waiting to go to grad school at Columbia. His last, best chance lies at Adventureland, a local amusement park, where his childhood best friend (and current ball buster) Frigo (Matt Bush) spends his days. Hired by Bobby (Bill Hader), James takes a bottom-of-the-barrel job working in games, where the sole bright spots are nerdy Joel (Martin Starr) and pretty Em (Kristen Stewart). Pot and alcohol fuel the summer fun, and James attempts to mend a broken heart and cure his unwanted case of virginity with help from Em.
There's plenty of fun, low-brow humor to be had in Adventureland, but there's more to it than pot cookies, erections, and kicks to the balls. Unrealized dreams lie at the heart of the film, which manages to straddle the gross-out comedy and coming-of-age genres remarkably well. A lot of credit goes to Eisenberg, whose awkwardness works just as well here as it did in The Squid and the Whale. He's likable, earnest, and relatable in his efforts to win over Em. Ryan Reynolds is excellent as the park's handyman, a musician who coasts on the story of how he played with Lou Reed. Hader and fellow SNL star Kristen Wiig also deserve praise for playing the strange couple who run the park. Both are far funnier than their work on the TV show would suggest.
Full of nostalgia, longing, and sincerity, Adventureland might have played better in the theatrical deadzone of August, when its end-of-the-summer feeling would have already been thick in the air-conditioned theaters. Unlike most of its would-be kin, this is a comedy dependent on its nicely crafted characters and mood, not just on the merits of its dirty jokes.
Thursday, April 16, 2009
Gigantic
I'm itching to make a joke about how the title of indie comedy Gigantic is actually short for Gigantic Waste of Time or Gigantic Pile of.... I also debated saying that the film is as weak as the chin of its star, Paul Dano, but that seems rather meanspirited. I mean, a man can't help his facial structure, but he could certainly have helped starring in this absolute mess of a film.
Dano's resume includes Oscar-winning favorites like Little Miss Sunshine and There Will Be Blood, but there's none of that talent on display here. As mattress salesman Brian, the actor sleepwalks through the film's agonizing script, showing little life or character. Zooey Deschanel plays...Zooey Deschanel, or some approximation thereof, who goes by the name "Happy" and fits the manic pixie dream girl mold perfectly. John Goodman is the only source of joy here, playing Happy's pushy, overbearing millionaire of a father.
Gigantic begins with Brian being randomly attacked by a homeless man (comedian Zach Galifianakis, playing what appears to be a noncomedic role). The script-driven chaos continues with the introduction of Brian's job and his casually racist boss (THE WIRE's Clark Peters), as well as his childhood-born desire to adopt a Chinese baby. He's on the cusp of realizing his dream when he meets the flitting, flaky Happy, while her father grumbles through their awkward courtship.
Directed by Matt Aselton, Gigantic suffers from a common flaw of films from first-time filmmakers. Elements seem randomly crammed in, as though Aselton thought that this was his one shot to get in every idea he ever had. Homeless guy stalking his prey from New York to Vermont? Check. Scene with numerous men getting "happy endings" at a massage parlor? Check. Skinny-dipping at night? Check. Drinking Crayola-colored cocktails from a beaker in a lab filled with rats? Check. This film has numerous problems, but it's mostly a film with an identity crisis. Aselton tried to make at least three different movies in one--a surreal indie, a romantic comedy, and a coming-of-age drama, by my count--but, despite its name, Gigantic is a case where less would've certainly been more.
Dano's resume includes Oscar-winning favorites like Little Miss Sunshine and There Will Be Blood, but there's none of that talent on display here. As mattress salesman Brian, the actor sleepwalks through the film's agonizing script, showing little life or character. Zooey Deschanel plays...Zooey Deschanel, or some approximation thereof, who goes by the name "Happy" and fits the manic pixie dream girl mold perfectly. John Goodman is the only source of joy here, playing Happy's pushy, overbearing millionaire of a father.
Gigantic begins with Brian being randomly attacked by a homeless man (comedian Zach Galifianakis, playing what appears to be a noncomedic role). The script-driven chaos continues with the introduction of Brian's job and his casually racist boss (THE WIRE's Clark Peters), as well as his childhood-born desire to adopt a Chinese baby. He's on the cusp of realizing his dream when he meets the flitting, flaky Happy, while her father grumbles through their awkward courtship.
Directed by Matt Aselton, Gigantic suffers from a common flaw of films from first-time filmmakers. Elements seem randomly crammed in, as though Aselton thought that this was his one shot to get in every idea he ever had. Homeless guy stalking his prey from New York to Vermont? Check. Scene with numerous men getting "happy endings" at a massage parlor? Check. Skinny-dipping at night? Check. Drinking Crayola-colored cocktails from a beaker in a lab filled with rats? Check. This film has numerous problems, but it's mostly a film with an identity crisis. Aselton tried to make at least three different movies in one--a surreal indie, a romantic comedy, and a coming-of-age drama, by my count--but, despite its name, Gigantic is a case where less would've certainly been more.
Tuesday, March 31, 2009
I Love You, Man
It's hard not to think of Judd Apatow while watching I Love You, Man. The players are there, including Jason Segel, who has been with Apatow from his Freak-y beginning. And like Apatow's Knocked Up and The 40-Year-Old Virgin, this film's script skillfully sweetens up its raunchy humor with moments of genuine tenderness. But Apatow's name is nowhere to be found; instead, I Love You, Man arrives courtesy of John Hamburg. He's rightfully not the brand name that Apatow is (his last major screen credit was the awful, sweaty-Phillip-Seymour-Hoffman-filled Along Came Polly), but a scan of his résumé does prove a connection: he directed a few episodes of the Apatow series Undeclared.
Apatow film or not, I Love You, Man is a great comedy that had me giggling throughout, from its high-minded reference to Anwar Sadat to its wealth of jokes about oral sex. The supporting cast, from a hilarious Thomas Lennon to a joyfully jerky Jon Favreau, are nearly perfect, but the film is carried by Paul Rudd. Normally a supporting character, Rudd gets top billing here, and he does it without recycling any old tricks. His I Love You, Man character, Peter Klaven, isn't the one making the jokes--or at least not the good ones. For all his awkwardness, he's usually the butt of the humor, but he's never unlikable. In this comedy, his goal is to find a best man for his upcoming wedding to Zooey (The Office's Rashida Jones), a task that leaves Peter sweating. A few unsuccessful man-dates in, and Peter is ready to throw in the perspiration-filled towel. But then he meets Sidney (Segel), and their friendship begins to follow all the romantic comedy rules, which provides a lot of the fun. From decades of watching Meg Ryan and Katherine Heigl movies, the audience knows exactly what to expect, but I Love You, Man at once follows and subverts the conventions of the genre with hilarious results.
Apatow film or not, I Love You, Man is a great comedy that had me giggling throughout, from its high-minded reference to Anwar Sadat to its wealth of jokes about oral sex. The supporting cast, from a hilarious Thomas Lennon to a joyfully jerky Jon Favreau, are nearly perfect, but the film is carried by Paul Rudd. Normally a supporting character, Rudd gets top billing here, and he does it without recycling any old tricks. His I Love You, Man character, Peter Klaven, isn't the one making the jokes--or at least not the good ones. For all his awkwardness, he's usually the butt of the humor, but he's never unlikable. In this comedy, his goal is to find a best man for his upcoming wedding to Zooey (The Office's Rashida Jones), a task that leaves Peter sweating. A few unsuccessful man-dates in, and Peter is ready to throw in the perspiration-filled towel. But then he meets Sidney (Segel), and their friendship begins to follow all the romantic comedy rules, which provides a lot of the fun. From decades of watching Meg Ryan and Katherine Heigl movies, the audience knows exactly what to expect, but I Love You, Man at once follows and subverts the conventions of the genre with hilarious results.
Tuesday, March 24, 2009
Duplicity
Closer, the last pairing of Clive Owen and Julia Roberts (Oscar or no, that is the order in which they will be announced) left me feeling like I'd been punched in the gut -- in a good way. The big-screen adaptation of Patrick Marber's play was brutal and biting, a fine follow-up to director Mike Nichol's own Who's Afraid of Virginia Woolf? Duplicity is another thing entirely, and that's not necessarily a bad thing. As in Closer, there's plenty of distrust, but here it's all in the name of fun, rather than sheer cruelty.
Like Shoot 'Em Up, Duplicity allows audiences to see what might have been if Owen had been chosen for the role of Bond that eventually (and rightly) went to Daniel Craig. Here, his Ray Koval is a suave ex-spy who is using his vast knowledge and connections to "earn" millions of dollars. He partners with another former agent, Claire Stenwick (Roberts), and they try to steal the formula for a revolutionary product out from under the turned-up noses of two rival CEOs (perfectly played by Tom Wilkinson and Paul Giamatti). Ray and Claire's professional relationship is clouded by their steam-driven personal one, and neither one is sure if he--or she--can trust the other. Out of this lack of trust is born a marvelously mazelike script that leaves the audience wondering who they can trust: Ray, Claire, or filmmaker Tony Gilroy.
Gilroy wrote the scripts for the Jason Bourne films, and he made his directorial debut with 2007's excellent Michael Clayton. None of that work seems to point to the relatively light (but still smart) screenplay for Duplicity. With Michael Clayton, he may have been channeling a '70s director like Sidney Lumet, but this latest offering seems far more in line with Steven Soderbergh's Ocean's 11 or Out of Sight. Like those films, Duplicity is a twist-filled trip that is fun without being entirely frivolous.
Like Shoot 'Em Up, Duplicity allows audiences to see what might have been if Owen had been chosen for the role of Bond that eventually (and rightly) went to Daniel Craig. Here, his Ray Koval is a suave ex-spy who is using his vast knowledge and connections to "earn" millions of dollars. He partners with another former agent, Claire Stenwick (Roberts), and they try to steal the formula for a revolutionary product out from under the turned-up noses of two rival CEOs (perfectly played by Tom Wilkinson and Paul Giamatti). Ray and Claire's professional relationship is clouded by their steam-driven personal one, and neither one is sure if he--or she--can trust the other. Out of this lack of trust is born a marvelously mazelike script that leaves the audience wondering who they can trust: Ray, Claire, or filmmaker Tony Gilroy.
Gilroy wrote the scripts for the Jason Bourne films, and he made his directorial debut with 2007's excellent Michael Clayton. None of that work seems to point to the relatively light (but still smart) screenplay for Duplicity. With Michael Clayton, he may have been channeling a '70s director like Sidney Lumet, but this latest offering seems far more in line with Steven Soderbergh's Ocean's 11 or Out of Sight. Like those films, Duplicity is a twist-filled trip that is fun without being entirely frivolous.
Thursday, March 12, 2009
Coraline 3D returns to theaters
Since the Jonas brothers 3D extravaganza didn't turn out to be quite the moneymaker Disney had hoped for, the film is now being kicked out of theaters in favor of...Coraline in 3D! By far my favorite film of the year so far, Coraline is stunning visually, but it doesn't compromise in any of its other elements. It's a beautiful, haunting film that both kids, parents, and the gleefully childless (like, um, me) can enjoy.
Coraline returns tomorrow, and it's definitely worth your time and the extra money for the 3D screening.
Coraline returns tomorrow, and it's definitely worth your time and the extra money for the 3D screening.
Subscribe to:
Posts (Atom)