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 (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]."
Robin Hood(2010) Directed by Ridley Scott Length:140 minutes Rated PG-13 for violence including intense sequences of warfare, and some sexual content
I have voiced my frustrations with director Ridley Scott's films in past blogs (see Body of Lies), mainly over his lack of consistency. For every great film Scott directs, he delivers one to two terrible films. I will admit, my initial perception of Robin Hood was DOA, especially considering the tremendous amount of turmoil and turnover encountered during production. But I wanted to give one of Hollywood's legends the benefit of the doubt. While the film certainly does not reach the heights of success reached by classics like Alien or Gladiator, Scott's latest effort is a decent medieval war epic with a fresh perspective on a classic tale.
If you aren't familiar with your 13th century English history as well as the basic Robin Hood tale, you may be a bit lost. Scott's rendition of the noble thief takes a much different turn than any previous attempt. Russell Crowe (The Next Three Days, State of Play) plays the titular hero, an English archer named Robin Longstride. Longstride? I thought Robin was usually Robin of Loxley from Nottingham? And this is where the differences begin. Without going into too much backstory, Robin assumes the identity of Robert Loxley of Nottingham, a noble, in order to gain passage back home from the Crusades. Soon Robin is pretending to be Sir Robert amongst the people of Nottingham, even taking Robert's widowed wife Maid Marion, played by the always talented Cate Blanchett (The Last Time I Saw Michael Gregg, Hanna). You may be wondering how someone could simply assume another's identity, but the movie will do a better job of explaining this detail than I can. Soon Robin is caught up in the potential battle between the French and newly crowned King John who faces potential civil war at the hands of his barons.
The film covers a lot of ground and can admittedly be a bit hard to follow at times. Understanding the political power plays between King John of England and King Phillip of France can be a bit confusing; but if you have some semblance of a working knowledge of European history, you should be okay. Additionally, the Robin Hood tale may be tweaked, but the traditionally important characters are still present - Little John, Friar Tuck, etc. The film does add a few too many layers to the mix by adding a group of orphan boys (a la Peter Pan) that raid Nottingham. The inconsistent stories or confusing plot could be attributed to the fact the screenplay was changed mid-filming on several occasions.
The battle scenes are the true strength of the film. Scott's talent as a director is on full display as epic battles between the English and French consisting of archers, horse fighting, and swordplay all capture the carnage of the battlefield. The fights feel well rehearsed and flow smoothly, truly creating the perfect vibe needed for a film of this type. The actors also do a solid job of supplementing the action with their performances, blending dialects and mannerisms appropriate to the times.
If not for the twisting attempt at a history lesson, Robin Hood may have outperformed expectations. Ultimately, however, the film falls a bit flat. The action is solid and the acting decent, but a confusing story dooms the film to mediocrity. While I can't say I hate the film, I certainly don't love it. Robin Hood is worthy of a rental, but anything beyond a single viewing is simply a waste.
Final Rating: 3 out of 5 stars
Favorite Quote: Friar Tuck: "So why do they call you Little John?" Little John: "What are you tryin' to get at? I'm proportionate (in reference to his penis)!"
The Social Network (2010) Directed by David Fincher Length: 121 minutes Rated PG-13 for sexual content, drug and alcohol use, and language
Anyone who tries to argue against the impact the social networking site Facebook has had on society is full of it. Almost everyone - from the national news, bands, your mailman, even granny - has a Facebook account. The ability to connect with friends and keep tabs on their every activity defines our very existence in today's connected and digitized society. The Social Network is the historically fictionalized story of Mark Zuckerberg and his creation of the massively popular website Facebook. I say fictionalized because, like most movies based on history, the characters may be real but the events depicted are usually loosely based on actual events. Truth aside, David Fincher - one of my favorite directors and member of the Rushmore Movies mountain of directors - has directed the movie of the year, perfectly depicting one of the most historically significant events in modern history.
Mark Zuckerberg, perfectly embodied by Jesse Eisenberg (Holy Rollers, Camp Hope), is the youngest billionaire in the world. The Social Network is the story of how the genius 19-year old Harvard student created a website the defines every aspect of society. Whether a true reflection of Zuckerberg's personality or not, Eisenberg perfectly portrays the abrasive genius constantly shifting from one thought to another. Equally impressive is Andrew Garfield (Never Let Me Go, Spider-man) as former Facebook CFO and co-founder Eduardo Saverin, the emotional anchor to Eisenberg's pure intellect. Where Zuckerberg represents the cold, calculating developer of the website, Saverin is the face and charm attempting to turn Facebook into a profitable corporation. Several scenes involving the lawsuit later brought against Zuckerberg by Saverin perfectly capture Zuckerberg's desire to be a friend or loved by many; yet, he pushes everyone away in his failed attempt at "being an asshole." The ultimate theme and perfection of Fincher's latest effort is how the one man who develop the biggest social instrument in history failed to maintain his own friendships and relationships.
The cinematography of The Social Network is spectacular. Keeping with the gritty and dark filming typical of a Fincher film, the beautiful and historical scenery of Cambridge, MA (location of the illustrious Harvard University) is prominently on display creating the perfect aura of history and superiority. The film cements the idea that an event like the creation of Facebook could only occur at Harvard, where the wealthy elite and future leaders and geniuses come to study. One scene in particular is breath-taking purely for its cinematography: a regatta on the Thames River. If I had to pick the most beautiful scene from a film in the last decade, I would have to choose this particular one - my jaw literally dropped at the masterful technique on display. Another strong scene occurs later during a dinner scene where Zuckerberg meets Napster co-founder and film villain Sean Parker, played by the multi-talented Justin Timberlake (Yogi Bear, Bad Teacher). Timberlake shows he has grown beyond simply being the frontman of a boy band; he exudes charm with a hint of sinister intentions. I would not be surprised to see Timberlake nominated for his performance.
As if amazing performances and cinematography were not enough, the film boasts an incredible soundtrack written by Nine Inch Nails frontman Trent Reznor. The film's score perfectly complements the scenes and creates the perfect mood - an almost futuristic, dark and brooding mix of industrial rock and electronica. The film may be about geeks and their programming, but the film keeps the pace steady. Reznor's score sets the tone of the dark story of the rise of Facebook.
Come Oscar season, The Social Network will be the film to beat. I would not be surprised to see David Fincher's masterpiece capture most if not all of the major awards including best film, director, actor, supporting actor, score, cinematography, and more. The powerful emotions, dry wit, intellectual plot, amazing score, beautiful filming, and more all make The Social Network one of the most impressive films of the decade. It seems one film perfectly captures the essence of a generation every decade: films such as 1976s Network or 1987s Wall Street come to mind as examples. The new millennium, a generation of users constantly connected to their friends through the internet via their smart phones or computers, is perfectly captured by The Social Network. This is one of the best films of the last decade, fictionalized or not.
Final Rating: 5 out of 5 stars
Favorite Quote: Tyler Winklevoss: [Talking about the physical stature of he and his twin] "I'm 6'5", 220 pounds, and there are two of me."
Oscar Winners Best Achievement in Editing Best Original Score Best Adapted Screenplay Oscar Nominations: Best Achievement in Cinematography Best Achievement in Directing - David Fincher Best Achievement in Sound Mixing Best Motion Picture Best Actor in a Leading Role - Jesse Eisenberg
The Town (2010) Directed by Ben Affleck Length: 123 minutes Rated R for strong violence, pervasive language, some sexuality and drug use
Ben Affleck continues to build a reputation as an acclaimed director with his sophomore effort The Town. Much like his previous effort 2007's Gone Baby Gone, The Town is a gritty crime drama that takes place amongst Boston's Irish neighborhoods, where crime, violence, and an unspoken code of silence are the norms. Not only does he direct, but Affleck also stars and co-writes the screenplay for a trifecta sure to garner Oscar attention. But the real question is does The Town mix the same emotional intensity as Gone Baby Gone with the heist-drama of classics such as Heat?
The film takes place in Charlestown, Massachusetts - a small community located in Boston where more bank robberies and armored car heist occur than in any other area in the United States. Ben Affleck (The Company Men, Extract) stars as remorseful criminal Doug MacRay, the brains behind the heists who dreams of escaping to a different life. Joined by his trigger-happy best friend James Coughlin, as played by Jeremy Renner (The Avengers, The Hurt Locker), Doug and his crew soon become an efficient and lethal crew capable of eluding the cops and minimizing exposure. That is until James decides to take a hostage - Claire Keesy played by newcomer Rebecca Hall (A Bag of Hammers, Please Give) - during a heist, who the crew fears will make them. Tasked with keeping an eye on Claire, Doug soon meets and falls for the former hostage, accelerating his desire to leave his life of crime behind. Unfortunately, Doug and his crew's latest actions have drawn the attention of the FBI, lead by Don Draper himself Jon Hamm (Sucker Punch, Mad Men) as Special Agent Adam Frawley.
The performances from the cast are solid; however, they all lack the emotional connection that made Gone Baby Gone so powerful. Renner excels as the tightly-wound James, ready to explode on anyone who stands in his way. Equally impressive is Hamm, still the epitome of Mr. Cool with his laid-back swagger and dry wit. While Affleck's performance is not at all bad, I had trouble sympathizing with the character of Doug. It is not that his actions are so reprehensible, simply Affleck's character lacks emotional depth - what you see is what you get. Additionally, without revealing much, the ending feels forced and not organic to its genre.
Where the movie may fall short in terms of emotions, the action is indeed top-notch. Several car chases and heist scenes avoid the plague of so many action scenes today, a.k.a shaky camera work with queasy camera pans. The action flows fluidly and feels realistic while avoiding being too over-the-top. Particularly, the shoot-out set at Boston's historic Fenway Park will soon be recognized as one of Hollywood's finest.
Though The Town has once again earned Affleck positive acclaim as a director, his sophomore effort does not quite reach the standard set by his debut. The action may be of a high quality, but the connection between the audience and the characters feels more of a surface variety as they lack true depth and conviction. While some of the initial hype surrounding the film and potential Oscar buzz may be an overstatement, The Town is a solid film that certainly warrants a viewing. I found myself thoroughly entertained; just be prepared to leave the film wishing for just a little more.
Final Rating: 3 out of 5 stars
Favorite Quote: Doug MacRay: "We gotta do somethin'. I can't tell you what it is, you can never ask me about it after we're done, and we're gonna hurt some people." James Coughlin: "...Whose care we takin'?"
Oscar Nominations: Best Supporting Actor - Jeremy Renner
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 (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."
