Morning Glory

Morning Glory (2010)
Directed by Roger Michell
Length: 102 minutes
Rated PG-13 for some sexual content including dialogue, language, and brief drug references





Before you say it, allow me a chance to defend myself. Rushmore Movies did not sell out. My core movie principles and expectations were not compromised by seeing a "chick flick." In fact, even though it may appear to be a chick flick, Morning Glory is actually light on the romance and heavy on the laughs in this fun comedy. Instant classic? Not even close. But this is the kind of "fluffy" film you have to appreciate; I mean they can't all be Citizen Kane.

Rachel McAdams (Midnight in Paris, The Vow) plays Becky Fuller, the spunky, ambitious, yet klutzy producer for a local New Jersey morning show. After being fired, Becky finds herself a new job in the big city as the producer for New York's worst rated morning program. Charged with raising viewership, Becky begins her seemingly insurmountable climb towards redeeming the morning show, Daybreak. Initially, I felt McAdam's character was over-the-top until she finds her stride towards the middle. Though McAdams is touted as the protagonist of the film, I found the film to be a stronger group effort and more centrally focused on the character of Mike Pomeroy, the surly new co-host of Daybreak. I consider myself a fan of McAdams, possibly more for her good looks and girl-next-door charm, but this isn't my favorite performance from her.

Diane Keaton (Tilda, Darling Companion) as Colleen Peck and Harrison Ford (Cowboys & Aliens, Extraordinary Measures) as Mike Pomeroy play the unlikely hosts of Daybreak - unlikely in the sense that they could not be more opposite. Colleen represents the morning television natural, more at home talking about cooking recipes and kissing frogs than reporting on the latest in Afghanistan, while Mike is the award winning reporter forced to honor his contract and co-host Daybreak. Though the duo work well together on screen, Keaton's Colleen is forgettable in comparison to Ford's Pomeroy. Ford has long enjoyed a great career, and it is refreshing to see him in a lighter role. His snarling demeanor and prima donna mentality provide some of the best laughs throughout the movie.

Yes, the film is ultimately more of the same saccharin that typically plagues America's movie theaters. But it is refreshing to find a film that avoids the typical pitfalls of a film heavily geared towards a female audience. Not only is the film very funny, it feels accessible to all. Every good "bromance" deserves a "chickedy" (I'm coining the term to mean chick comedy) that can overcome the promos to reach a wider audience. Definitely be sure to check out this fun film!

Final Rating: 3 out of 5 stars

Favorite Quote:
Mike Pomeroy: "Where are my God damn eggs!"

Due Date

Due Date (2010)
Directed by Todd Phillips
Length: 100 minutes
Rated R for language, drug use, and sexual content







Due Date will and has been compared to the John Hughes comedy classic Planes, Trains, and Automobiles; but of course, this being a Todd Phillips comedy, you should expect the intensity to be about 100 times higher. High-strung architect and expecting father Peter Highman, the great Robert Downey, Jr. (Sherlock Holmes 2, The Avengers), is forced to travel across country with aspiring actor and walking disaster Ethan Tremblay, Zach Galifianakis (Bored to Death, The Hangover 2), after being placed on the no-fly list. Gunshots, Mexican federales, crippled Iraq war veterans, and a masturbating dog all lead to some insane hi-jinks in this modern travel comedy.

Both RDJ and Galifianakis are at their best in their respective roles. Downey, Jr. as the on-edge and determined traveler works well with the oblivious and borderline insane character of Galifianakis. Both actors have expressed a desire to work together in the future, and I for one would love to see this pair together again. Though it could be argued Galifianakis is simply rehashing his character from The Hangover (and there is some validity to this point), Ethan is a much more vulnerable and wounded character that makes the audience love him in spite of his idiocy. Additionally, seeing an edgier side of Downey, Jr. is a refreshing change of pace from his Mr. Cool roles as of late (i.e. Iron Man and Sherlock Holmes).

Concerning the various scenarios both Peter and Ethan find themselves in, let's just say it gets to be a bit much. By the time you get to Peter being shot (a scene from the trailer), you will be wondering what else these two could possibly endure. But what makes the film fun also begins to edge towards detrimental after a while. Thankfully, Phillips ends the movie at the right moment, perfectly maxing out the audience's tolerance and patience.

To get the comparison out of the way, The Hangover is better; but Due Date exceeded my expectations brought on by the negative ratings from the likes of Rotten Tomatoes and various others. I left the theater entertained and satisfied, having enjoyed several good laughs. The film squarely focuses on the unlikely partnership of RDJ and Galifianakis, and I celebrate the pairing by highly recommending this movie. Not to mention, the film boasts a great soundtrack heavy on some of my favorite indie bands. Be sure to see this one sooner than later!

Final Rating: 4 out of 5 stars

Favorite Quote:
Ethan Tremblay: "Dad...you were like a father to me."

Get Him to the Greek

Get Him to the Greek (2010)
Directed by Nicholas Stoller
Length: 109 minutes
Rated R for strong sexual content and drug use throughout, and pervasive language






*Writer's note: The following review is an open letter addressed to any member of the Judd Apatow crew.*

Dear Mr. Apatow and your crew of actors, writers, etc.:

Let me start by saying I am a huge fan of your work. From your canceled-too-soon television programs Freaks and Geeks and Undeclared, to your more recent mainstream successes such as The 40-year Old Virgin and Knocked Up, I eagerly anticipate and support any film by you or any of your crew (i.e. Seth Rogen, Jason Segel, Paul Rudd, etc.). Unfortunately, it seems that as of late, the quality of the films deemed "Apatow comedies" has fallen dramatically. I understand the pressures of Hollywood to release one after the other in order to capitalize on the brand name, but I feel you may be jeopardizing your future films if you continue down this path.

Consider one of the latest efforts, Get Him to the Greek. Is the film funny? Certainly! I found myself laughing hysterically on several occasions. But I also feel the film does not come close to capturing the immortal status some of your past gems did. Every film may not be the best comedy ever, but over-reliance on dick and fart jokes can lower the quality quickly.

Get Him to the Greek continues the story of the great Aldous Snow, as played by Russell Brand (Arthur, Despicable Me). The British rock god continues on his quest of lust for smack and snatch as lowly record intern Aaron Green, my man crush Jonah Hill (Megamind, Moneyball), is charged with getting Snow back to Los Angeles for a ten-year anniversary concert. Yes, I love Jonah Hill, and Aldous Snow was one of the best characters from the great Forgetting Sarah Marshall. However, this film falls a bit flat. Both the first third and last third of the film seem forced and just strange. Let's just say the three-way and anything involving P. Diddy are simply bizarre.

There isn't much to same about the film. Is it funny? Sure. Is it memorable? Unfortunately, no. I have come to expect more than mediocre comedies and lame jokes from you and your crew. I will recommend this film to anyone looking for a solid rental, but Get Him to the Greek falls well short of some of your more classic films. Here's to hoping you and your boys regain the glory of past days.

Always your adoring fan,
Devon

Final Rating: 3 out of 5 stars

Favorite Quote:
Sergio Roma: "This is what all pussy looked like in the 70s [in reference to the furry wall]."

Easy A

Easy A (2010)
Directed by Will Gluck
Length: 92 minutes
Rated PG-13 for mature thematic elements involving teen sexuality, language, and some drug material





Hollywood mourned the untimely passing of 80s iconic director John Hughes last year. Since that time, the sense of nostalgia surrounding his films has seemingly grown as new generations of viewers surface. While his films were never considered classics in the most literal and traditional sense of the word (a la The Godfather or Citizen Kane), Hughes's filmography included such gems as Pretty in Pink and The Breakfast Club as well as several others that overcome their 1980s cultural references and appeal to mass audiences. Boasting troubled protagonists with witty humor and sex appeal, the audience often cheered on the renegades as they combined serious social concerns with big laughs.

Much in this fashion, Easy A is a modern take on the Nathaniel Hawthorne classic The Scarlet Letter with all the elements of a John Hughes classic. Set in the dangerous jungle known as high school, modern girl Olive, played by the sexy and quirky up-and-comer Emma Stone (Crazy, Stupid, Love; Zombieland) , struggles to be noticed until a rumor surfaces concerning her recent deflowering: except Olive is still a virgin. Fact or fiction, Olive's sudden social status allows her to assist the social outcast of her high school by starting rumors of their "hooking up" for payment in the form of a gift card. While the male outcast see their reputation boosted, Olive becomes known as the school whore, earning the ire of the fundamentalist Christians, led by the perfectly casted Amanda Bynes (Canned, Living Proof) as Marianne. Soon Olive struggles with balancing her school persona with her true nature as she loses her friends and self-respect.

Emma Stone really shines in Easy A and certainly will be a force in the coming years. Capable of being sexy, funny, or even one of the guys, Stone is the type of actress that appeals to a mass audience. Beyond Stone's personal success, both Stanley Tucci (Burlesque, Margin Call) and Patricia Clarkson (Legendary, Shutter Island) are outstanding as the progressive parents of Olive. On several occasions, their playful banter and modern parent-rearing techniques steal the scene. Also impressive is the monotonic, "cool teacher" bit by Thomas Haden Church (Don McKay, Zombie Roadkill) as Mr. Griffith.

Easy A is an instant classic and a proper homage to the late John Hughes. The laughs are constant and big and appeal to a wide audience. Though the film may be hoping to target the Mean Girls audience, both sexes can enjoy the jokes. Equally impressive the fact the film is able to stay steady throughout with little to no wasted scenes. Definitely be sure to check out Easy A, the closest thing to a John Hughes classic in years.

Final Rating: 4 out 5 stars

Favorite Quote:
Principal Gibbons: "This is public school. If I can keep the girls off the pole and boys off the pipe, I get a bonus."

Youth in Revolt

Youth in Revolt (2009)
Directed by Miguel Arteta
Length: 90 minutes
Rated R for sexual content, language, and drug use





Another Michael Cera movie already? In my defense, Netflix took their sweet time sending me the film, but the wait is finally over. In the end was it worth getting worked-up over? No, but Youth in Revolt is a quirky indie comedy that allows Cera to explore a darker, more sinister side of the snarky dork he usually plays. My love for Michael Cera aside, the film is a fun and witty and enjoyable experience.

Michael Cera (Scott Pilgrim vs. the World, Arrested Development) plays aspiring writer and resident virginal geek Nick Twisp. While away with his mother and her deadbeat boyfriend Jerry, played by Zach Galifianakis (Due Date, The Hangover 2), Nick meets the girl of his dreams, Sheeni Saunders played by Portia Doubleday (In Between Days, The Wheeler Boys). Though Sheeni is the daughter of pious zealots, she dreams of exotic French men and other rebellious things - aka not Nick. Determined to win her affection and lose his virginity, Nick creates an alter-ego named Francois Dillinger that allows him to act in a very un-Nick like manner, such as destroying a town square and wrecking multiple cars.

When it comes to geeky-yet-charming, quiet but sarcastic leading men, Michael Cera is the go-to-guy in Hollywood; however, Youth in Revolt allows Cera to add a new dimension to his repertoire. While Nick/Francois could hardly be considered a bad guy, the sinister actions and manipulative plotting he carries out in his attempts to win Sheeni's heart all show a side of Cera not yet seen. This new side of Cera certainly elevates the witty dialogue and humor of his actions as he literally creates a manifestation of the "voice inside your head."

While Youth in Revolt is not the most memorable film in Cera's short career, there are several laugh-worthy scenes and enough witty dialogue to garner a rental. Though the film may be geared towards a younger audience, the theme of a good-guy geek being bad for a girl is universal and should translate well to all audiences. Cera will continue to be better known for his other works such as Superbad and Juno, but I personally enjoyed seeing a new side to his usual character. Hopefully in his future films, he will continue to grow and evolve into a complete actor, becoming a true leading man in the process.

Final Rating: 3 out of 5 stars

Favorite Quote:
Nick Twisp: "Sheeni, hi, nice to see you. I was just going for a walk, and I thought I'd drop by. I remembered that you live here. I'm sorry I got upset about Trent. It was very immature of me. I'm not normally like that. He sounds like a great guy. I'd love to hear more of his neat poetry. Say, do you want to go to the beach or get breakfast?"

Sheeni Saunders: "Actually, I'm going on a hike. I'd ask you to come along, but you haven't got any hiking boots, provisions, survey maps, or a compass."

Nick Twisp: "Fine. I do all my hiking free form. Like John Muir, I enter the wilderness with nothing more than my journal and a child-like sense of wonder."

The Kids Are All Right

The Kids Are All Right (2010)
Directed by Lisa Cholodenko
Length: 106 minutes
Rated R for strong sexual content, nudity, language, and some teen alcohol and drug use




As 2010 continues onward, we are quickly approaching Oscar season - aka the time of the year movies get vastly better. Generating intense buzz amongst the critics for its modern take on the family, The Kids Are All Right is the story of a middle age couple struggling to maintain the romance while raising two teenage kids. The twist? The couple are lesbians with sperm donor children who want to meet their donor daddy.

Annette Bening (State of the Union, Hemingway & Fuentes) as the perfectionist wino Nic and Julianne Moore (Elektra Luxx; Crazy, Stupid, Love) as the free-spirit Jules are amazing in their roles as a struggling couple. Both really convey the different natures of their characters while still allowing you to sympathize with their flaws. And I think both actresses and screenplay writer should be commended for making this a movie about a family and its struggles and not focusing on the gay couple pitfall. Sure there are plenty of tongue-in-cheek jokes about the two, but the film really does an incredible job of showing how relationships and families with gay couples are no different than straight couples except for anatomically.

Equally impressive are the performances of the children, next best thing Mia Wasikowska (Alice in Wonderland, Jane Eyre) as Joni and her brother Laser played by Josh Hutcherson (Red Dawn, Carmel). Earlier this year, Wasikowska epically failed as Alice in Tim Burton's rendition of Alice in Wonderland, but she has certainly redeemed herself this time. As a teenager preparing for college and struggling with becoming an adult, Wasikowska nails the emotional range needed for the role. One scene in particular sums up her performance as her lip quivers as she realizes she is finally on her on...good stuff. As the 100% straight and male-thinking member of the family, Hutcherson's Laser shines. Searching for a male influence and an understanding of who he is, Hutcherson has some of the best dead-pan deliveries in the movie as well as portraying the pure teenage male moodiness.

Perhaps the most conflicting part of the movie arises from Mark Ruffalo (Date Night, The Avengers) as sperm donating, biological father Paul. Ruffalo is the restaurant owning, organic vegetable raising, motorcycle riding cool guy, who really wants a family more than anything. While Paul is certainly charming, the film seems conflicted over whether we should hate Paul for his actions or compassionate for his endeavors. Without revealing too much, this is probably the weakest component of the film. Ruffalo certainly delivers on his part, but the screenplay seems confused over how we should react to Paul and his desire to be part of the family.

Without a doubt, The Kids Are All Right masterfully blend the more dramatic elements with several great laughs. The performances are amazing and really shift the focus on the family and away from the type of parents that may deter some viewers. This may not be Brokeback Mountain in terms of making the more conservative squirm; but like Ang Lee's "gay movie standard," the audience sees beyond the couple for their sexual preferences and embraces the story. I found myself on the verge of tears near the end of the movie, as my own fears of failure in relationships manifested itself onscreen. Truly, this is a solid film accessible to even the most average film watcher that should generate some serious buzz come Oscar time.

Final Rating: 4 out of 5 stars

Favorite Quote:
Nic: "I need your input like I need a dick in my ass!"

Oscar Nominations:
Best Motion Picture
Best Supporting Actor - Mark Ruffalo
Best Actress in a Leading Role - Annette Bening
Best Original Screenplay

Dinner for Schmucks

Dinner for Schmucks (2010)
Directed by Jay Roach
Length: 114 minutes
Rated PG-13 for sequences of crude and sexual content, some partial nudity and language





Steve Carell, Paul Rudd, and a strong supporting cast in a comedy? Sign me up! Unfortunately what looked like a strong comedic effort on paper didn't quite live up to its billing. Certainly there are plenty of laughs to be had, but for a movie that centers around the infamous dinner for idiots, the movie starts slowly and relies too heavily on the performance of Carell in particular.

Resident smart-ass Paul Rudd (How Do You Know, Wanderlust) is Tim, a financial analyst seeking a promotion by bringing an unsuspecting idiot to a dinner for his bosses to ridicule. Like a sign from God, Tim literally runs into an idiot - with his Porsche, mind you. As an IRS agent by trade and a taxidermist who recreates popular paintings and scenes with dead mice, Barry played by Steve Carell (Despicable Me; Crazy, Stupid, Love) is the perfect schmuck for the dinner. And the perfect person for this movie.

As the destructive tornado that threatens to wreck Tim's life due to his absolute oblivion, Steve Carell as Barry is the pulse of the movie and frankly the saving grace. The first ten minutes of the film feels listless and pointless, but the second Carell enters the screen the movie truly begins to flourish a he balances the right amount of stupidity with heart. I have been a big fan of Rudd's over his last few films, but this is one of his worst performances to date. Whether the result of bad writing, bad character, or simply bad acting, Rudd's character is dull and disconnected, while Carell is charming in a strange way.

Helping Carell along the way is Jemaine Clement (Predicament, Men in Black III) as Kieran, a narcissistic artist that seeks to embrace the animal side of life. While Carell is certainly the star of the show, Clement's character only adds to the laughs, especially when the two are employed together. Additionally strong in a supporting role is Zach Galifianakis (Due Date, It's Kind of a Funny Story) as Therman, Barry's psychic co-worker. Galifianakis's role in The Hangover may be more memorable, but the faux-turtleneck wearing Therman has his moments.

Amazingly, for a movie centered around the titular dinner, the scene is relatively short and one of the weaker moments. The bottom-line is no one will consider this a modern classic, like Tropic Thunder or The 40 Year Old Virgin. But there are plenty of laughs. What may have been a disappointment of a movie still features memorable roles by the likes of Carell and Clement. Ultimately, save your money and way for the DVD release or cable debut. The laughs will still be there and a lot cheaper. And cheaper things are certainly easier to appreciate even if they lack in certain areas.

Final Rating: 3 out of 5 stars

Favorite Quote:
Kieran: "Do you have any idea what it's like Tim, to be up to your elbow in a zebra's vagina?"
Tim: "No."
Kieran: "You should try it Tim, it's magical!"

Cyrus

Cyrus (2010)
Directed by Jay Duplass & Mark Duplass
Length: 91 minutes
Rated R for language and some sexual material




Well hello once again! With today's review, we're going to do something a little different to start things off. It's called, How to Make a Movie with Chef Rushmore. This is a really easy recipe folks, but it's going to be great when you are done. First, get your blender/food processor. Next, we're going to toss in our ingredients: some Stepbrothers, the 2008 comedy staring Will Ferrell and John C. Reilly; a handful of Prozac; and last some essence of "mumblecore" - a new popular indie genre featuring offbeat humor, sense of improvisation, and low budget production. Blend it all together and you get Cyrus, a quirky indie comedy that, while not full of zany comedic moments, has plenty of chuckle-worthy scenes that will surely entertain.

Divorced, depressed, and lonely, John C. Reilly (The Extra Man, We Need to Talk About Kevin) plays John, a freelance editor desperate for love. Enter Marisa Tomei (Salvation Boulevard, The Lincoln Lawyer) as Molly, the beautiful yet equally lonely soul John has sought. Both click and a beautiful relationship begins to blossom; that is until John finds out about Cyrus, Molly's overly attached son that will do whatever it takes to keep his mother to himself.

As the titular character, my man crush Jonah Hill (Get Him to the Greek, Megamind) is perfectly cast. His seemingly genuine compliments mixed with deadpan stares, subtle jokes, and later outright threats are comedic gold. The best scenes throughout the movie involve Cyrus and his trench warfare campaign to separate John and his mother Molly. While the previews may leave you thinking this is another outright comedy full of laughs, this is actually a little misleading. Certainly there are laughs to be had, but the film is more about two flawed people finding love, while Cyrus serves as the comedic commas.

Admittedly, the strongest scenes involve John C. Reilly and Jonah Hill shuffling for position over Molly's attention. However, an outright battle between the two a la Stepbrothers does not happen till the film is almost over. I can appreciate a film opting out of rehashing the same old low-brow/physical comedy bits, but it would have been nice to have more moments between Reilly and Hill. Particularly, one strong scene involves Cyrus showing John his work as a aspiring DJ - quite hilarious!

If your favorite comedies are typically films like Hot Tub Time Machine or Talladega Nights, then you probably won't enjoy Cyrus. But if you enjoy indie comedies like Wes Anderson films (Fantastic Mr. Fox, Rushmore), then you may have found a new gem for your viewing pleasure. I really enjoyed this film, even though it certainly is flawed. I may not buy the DVD and watch it several times, but I would definitely recommend a viewing. If you can abate your expectations to laugh out loud throughout, I think you will find an enjoyable experience that will at least make you chuckle.

Final Rating: 3 out of 5 stars

Favorite Quote:
Cyrus: "Don't fuck my mom."

Pirate Radio

Pirate Radio (2009)
Directed by Richard Curtis
Length: 116 minutes
Rated R for language, and some sexual content including brief nudity




The 1960s have long been recognized as the fertile time period that produced some of the most immortal bands of all time - bands like The Beatles, Rolling Stones, The Who, The Kinks, etc. These bands that have inspired multiple generations are still enjoyed to this day over the airwaves. Shifting focus away form the artist, Pirate Radio focuses on the birth of modern radio and the rise of rock and roll. Though boasting a killer soundtrack, cool topic, and talented cast, Pirate Radio fails to capitalize on the passion of the music at the heart of the film.

During the 1960s, the airwaves typically consisted of news broadcasts and traditional styles of music. Up until this time, rock and roll and other forms of popular music could hardly be found on the radio. This quickly changed when groups of "pirate DJs" began broadcasting the decade's greatest artists via offshore boats. Though not illegal, these broadcasts quickly drew the attention of the British government (the area of focus for this particular film). It is through the efforts of these pirate DJs that modern radio grew to become the stations we now know and love. Pirate Radio follows the broadcasts of one particular boat and its crew of misfit disc jockeys and their over-sized personalities.

While the concept and music may be cool, the film ultimately falls flat on its face. There is little semblance of a grand plot; instead, we find multiple little mini-plots that would probably have worked better on a sitcom or soap opera. Additionally, the casts truly fails to deliver the caliber of performance that is expected with such respected names. Philip Seymour Hoffman (Jack Goes Boating, The Invention of Lying) as The Count and Bill Nighy (Harry Potter and the Deathly Hallows, G-Force) as the boat's captain Quentin fail to deliver the memorable and great performances typically expected from such qualified actors. While this isn't meant to say their performances are bad, rather they are simple and forgettable characters that are predictable and shallow. While the film's overall shallowness certainly contributes to this, none of the cast is able to salvage this shipwreck.

The main draw to the movie is its rocking soundtrack, and Pirate Radio certainly delivers on that front. But beyond the tunes, all you find here are weak performances, little plot or character development, little enjoyment, and an overall feeling that you just wasted two hours of your life. I could maybe see why some people might enjoy this film, but this is a prime example of a movie with little-to-no substance or depth. If you just must watch this film, don't say I didn't warn you. Instead, I recommend dusting off the vinyl collection and listening to the bands that comprise the soundtrack and ignore this one.

Final Rating: 2 out of 5 stars

Favorite Quote:
Dave: "So tell us Mark, now at the very end - what was your secret? How did you get all them girls?"
Mark: "Simple. Don't say anything at all."
'Young' Carl: "Nothing at all?"
Mark: "Nothing. Then, when the tension becomes too much to bear, you finally, finally, just say 'how about it, then?'"

The Informant!

The Informant! (2009)
Directed by Steven Soderbergh
Length:108 minutes
Rated R for language



The corporate whistle-blower film has been done before, albeit with a much more dramatic flair (see the 1999 Michael Mann classic The Insider). But with director Steven Soderbergh, the director of the Ocean's trilogy, you just knew his snarky, white-collar humor was bound to prevail. While star Matt Damon continues to show his acting chops, The Informant! is more of a mess than the tangled web of lies Damon's character spins.

Based on a true story and the novel of the same name by Kurt Eichenwald, Matt Damon (Green Zone, The Adjustment Bureau) play Mark Whitacre, a young bio-chemist who uncovers an industry-wide price fixing scandal; armed with the knowledge of his company's deviance, Mark soon perpetrates a fraud that will swindle the FBI, the US government, his company, and others. Damon truly is the only highlight to the movie, though he is hardly recognizable. Packing on the pounds to play the stereotypical white-collar desk junkie, Damon rocks a porn 'stache and beer gut that Ron Burgundy would lust after. Damon's Whitacre will drive you nuts with his compulsive and fervent lying, even when he is caught in the act.

Beyond Damon, there is little to the movie. The events that showcase Mark's fraud are scattered and messy; though you can trail what is happening, it is exhausting trying to maintain a running record of each lie. Personally, I found it extremely frustrating that the movie failed to truly present Mark's motivation or need to commit fraud. As an accounting major, I am taught the signs of a fraudster as well as reasons often accompanying such an act. While the movie does do an excellent job mentioning how Mark's behavior had changed, etc., it fails to explain what was his ultimate motivation to perpetrate the fraud.

For a movie claiming to be a comedy, the laughs are few and far between, often resulting in the more dry variety. Soderbergh is known for his more "sophisticated" humor, and The Informant! is no exception. However, it would be nice if the humor was actually...well...humorous. It is certainly worth watching to see a pudgy Matt Damon in action, but be prepared to feel apathetic towards the film in the end.

Final Rating: 2 out of 5 stars

Favorite Quote:
Mark Whitacre: "When polar bears hunt, they crouch down by a hole in the ice and wait for a seal to pop up. They keep one paw over their nose so that they blend in, because they've got those black noses. They'd blend in perfectly if not for the nose. So the question is, how do they know their noses are black? From looking at other polar bears? Do they see their reflections in the water and think, "I'd be invisible if not for that." That seems like a lot of thinking for a bear."

The Men Who Stare at Goats

The Men Who Stare at Goats (2009)
Directed by Grant Heslov
Length:94 minutes
Rated R for language, some drug content, and brief nudity




Clooney, Spacey, Bridges, McGregor...some of the biggest A-listers in Hollywood who happen to be Oscar-caliber actors to boot all in one film? Sign me up! But wait...don't let the awesome star power fool you; The Men Who Stare at Goats far from lives up to the talent found in the film. Boasting two of last year's Oscar nominees (not to mention 2009 Best Actor winner Jeff Bridges), you would expect a great film no matter how lacking the material may be. Unfortunately, this serves as a prime example of how to waste great talent.

Set in the early 2000s during the start of the second Iraq war, Ewan McGregor (Angels & Demons, The Ghost Writer) plays Bob Wilton, an American journalist who heads to cover the "action" in attempt to prove his journalistic prowess. What Bob soon uncovers is a secret government project involving the training of a new group of soldiers, called Jedi (this is where you should start rolling your eyes), who attempt to master psionic powers and New Age practices to bring peace to the world. This secret covert operation is revealed by Lyn Cassady, an eccentric level-3 Jedi played by the dashing George Clooney (Fantastic Mr. Fox, The American). Armed with the knowledge that Bob himself has the potential to become a Jedi, the pair set off to find Lyn's former troop leader Bill Django, a New Age hippie who values peace, love, dance, and flower power over combat, portrayed by 2009's Best Actor Jeff Bridges (Crazy Heart, Tron Legacy).

Whew...that's a lot to absorb. And I'll admit, even after watching the film, it doesn't make sense. In fact, the whole movie doesn't really have a point; it is over the top to the point of extreme ridiculousness. Are there laughs to be had? Sure! I found myself laughing out loud at several scenes, particularly earlier in the movie when we see the Jedi "training". Without a doubt, the strongest scenes of the film are those involving Jeff Bridges; his portrayal as a military man turned hippie is indeed humorous. But these individual performances are not enough to overcome the lack of coherent plot and lunacy that is The Men Who Stare at Goats.

Certainly one could interpret the film as an overall comparison of the Iraq War to the Vietnam War. But if the film is attempting to use a farce to critically analyze this modern war, it leaves the audience scratching its head more than with a new outlook. While you will enjoy some laughs, this is one film you will not regret missing if you decide to pass.

Final Rating: 2 out of 5 stars

Favorite Quote:
Larry Hooper: "Lieutenant Colonel Django used funds from the project's black budget to procure prostitutes..."
Bill Django: "That's a lie!"
Larry Hooper: "...and to get drugs for himself and his men."
Bill Django: "That...well, the hooker thing is definitely a lie."

Up in the Air

Up in the Air (2009)
Directed by Jason Reitman
Length: 109 minutes
Rated R for language and some sexual content





Movies often have a way of emulating real life: the pain, joys, and adventures the everyday person goes through in his/her life. Though we may never explore a lost Aztec temple in search of gold, outrun the destruction of the world in a limo, or stop a psychotic ax murderer, we all have adventures of a different type that shape the person we become. Steps in life that will dictate who you are - marriage, your first job, school, traveling...or even the adventures we'd rather not think about like death, mortality, and losing our job. As the first decade of the millennium comes to a conclusion, Up in the Air is the perfect cap on one of the most challenging times in a long time - a decade marked by financial success only to be followed by recession; the ability to be connected at all times, only to lose the human element to life.

Based on the novel of the same title, Up in the Air follows Ryan Bingham, played by George Clooney (Fantastic Mr. Fox, The American), a hatchet man who travels the country firing people for bosses lacking the fortitude to do it themselves. Employing the philosophy of no possessions, no connections, constant movement, Ryan sums it up best we he says, "Humans are sharks" - our constant need for movement and change has led Ryan to the philosophy of live life out of a suitcase on the road. Relying on the "antiquated" notion of humane touch, Ryan has become the czar of firing people but quickly spinning a "grass is greener" approach. With the goal of obtaining 10 million frequent flier miles, Ryan's quest is threatened by the changes proposed by the young up-and-comer Natalie, played by Anna Kendrick (New Moon, Scott Pilgrim vs. the World), who wants to implement layoffs via a web-cam transmission in the name of cost efficiency.

Jason Reitman is quickly becoming one of my favorite directors. Few have mastered the art of a damaged, jackass protagonist who audiences wind up cheering for in the end. Clooney's performance is well deserving of the Oscar buzz being generated. Often the cool, collected, suave character, Clooney has taken his usual role to new heights. Ryan is a confident character who believes in his idioms and philosophies, the idea of "keep your backpack light". As Ryan is influenced by not only Natalie, but also Vera Farmiga's (Orphan, Henry's Crime) Alex, a female version of Ryan who he quickly begins to develop serious feelings for, he begins to call into question his idea that we all die alone eventually. The tragedy of Ryan is heart wrenching and indeed provides plenty of tearjerker moments. Clooney has succeeded in portraying a debonair traveler suffering from a zeitgeist-esq change in life of "what now?"

Personally, the film hit home on a lot of elements. My mother was "let go" from her job of over twenty years in April of 2009, a situation repeated all too often over the last couple of years. It is one thing to know someone who has lost their job or even to have a family member affected; it is another thing to witness the process. From anger and outrage to sadness and suicidal threats, it is difficult to watch as a person has their entire world ripped from under their feet. With mounting costs and pressures, this poignant look at the process of firing a person truly touches on all fronts. I found myself on the verge of tears on numerous occasions as I wondered what went through my mother's head when she was "let go".

If the reflection on layoffs in modern society were not enough, the look at modern relationships is also incredibly personal and frightening. Natalie represents the new generation, a twenty-three year old recent college grad with plans of being married, white picket fence, 2.5 kids, etc - the focused, efficient worker who attempts to compartmentalize every aspect of his/her life into a plan that has been decided on early in life. Ryan represents the free spirit, living for today with no intentions of marriage or children. As the roles are reversed between the two, you will be left an emotional wreck; I struggled to hold back tears as I left the theater struggling with a plethora of emotions and thoughts ranging from respect and concern for my unemployed mother, to doubts about relationships and love, to thoughts on my future career and goals.

Up in the Air is the perfect film for right now. Offering a real look at the difficulties we face in today's modern society, Reitman has succeeded in every regard in delivering an emotional and touching film that will reflect the last decade as well as the transition between the past generation to mine. As we prepare to enter Oscar season, make sure you see this film. Though it certainly has plenty of laughs, be warned this plane does experience some turbulence that will leave you soul searching at its conclusion.

Final Rating: 5 out of 5 stars

Favorite Quote:
Ryan Bingham: "Never get behind old people. Their bodies are littered with hidden metal and they never seem to appreciate how little time they have left. Bingo, Asians. They pack light, travel efficiently, and have a thing for slip-on shoes. Gotta love'em."

Natalie Keener: "That's racist."

Ryan Bingham: "I'm like my mother, I stereotype. It's faster."


Oscar Nominations:
Best Motion Picture
Best Actor in a Leading Role - George Clooney
Best Supporting Actress - Vera Farmiga
Best Supporting Actress - Anna Kendrick
Best Achievement in Directing - Jason Reitman
Best Adapted Screenplay

Brüno

Brüno (2009)

Directed by Larry Charles

Length:81 minutes

Rated R for pervasive strong and crude sexual content, graphic nudity, and language

Vas up? It's time for everybody's favorite gay, Austrian fashionista known simply as

Brüno. I will preface this review with a strong warning: this is not a film for everybody! This is a movie that strives to push the boundaries of what is acceptable and forces you to watch, sometimes in horror, as Brüno convinces a mother to dress her child in Nazi attire as another baby is crucified, tells a Southern Baptist minister he has DSLs, or feigns blowing the ghost of his dead lover Milli from Milli Vanilli. Is it funny? Hysterical! But its humor will definitely be lost on a lot of people. That being said, if you can overcome any potential scruples you may have, you will enjoy seeing a very funny movie.

In the second film featuring a character from the popular HBO series Da Ali G Show, Sacha Baron Cohen (Sweeney Todd, Madagascar 2: Escape from Africa) has once again attempted to push the boundaries in another "mocumentary" style film. Riding high after the success of his previous film Borat, Cohen strives to recreate the controversy and insanity that made him a huge success. Though Borat succeeded in creating controversy, it cannot begin to near the level of absurdity found in Brüno. How this movie avoided earning a NC-17 rating I'll never know, but Cohen certainly succeeds in "one-upping" his previous film in almost every category...almost.

Let's establish right now, Brüno is a very funny movie. Falling from grace after a disastrous snafu at a fashion show, our favorite fashionista leaves for America to achieve stardom, no matter what. Needless to say, an overly flamboyant European isn't exactly what American audiences are looking forward. The situations Brüno finds himself in definitely exceed the border lines of taboo and acceptable. But does Cohen succeed in making a believable, funny yet introspective film like Borat? Admittedly, the film feels a bit more staged than Cohen's previous endeavor. Though typically very funny, it's harder to believe the spontaneity or realism. A perfect example is a hunting expedition with three Southerns that Brüno believes will make him man up; though highly funny, you definitely feel like Cohen had to force more situations this go around.

I believe the reason for this lies with the character. Borat is a much more likable kind of guy. Is this simply because Brüno is gay? Certainly many people are initially put off by this character for that simple reason. What makes Brüno funny is also what makes him a less accessible character. While Borat was simply a guy from Kazakhstan trying to make "romantic explosion" on Pamela Anderson's stomach, Brüno addresses the largest prejudice in the world today. Granted a gay man attempting to make a sex tape with Ron Paul would probably make many people uncomfortable, you should be willing to give Brüno a chance.

My biggest complaint with Brüno lies with the story. As stated, though highly funny, the plot largely is a rehash of Borat...as in the exact same story sans love interest. Brüno comes to America looking for love (in this case fame leads to love) and winds up falling for the most unexpected of characters. Though this is a bit disheartening, it's not enough to take away from some truly brilliant moments. I realize not everyone will enjoy the humor found here, but really this is a very funny movie. If you can find it within yourself, you should definitely gives Brüno a chance...after all, don't we all have a little gay fashionista within us all?

Final Rating: 3 out of 5 stars

Favorite Quote:

Reviewer response to Brüno's new show: "It's worse than cancer!"