Monday, May 23, 2011
Always a Bridesmaid
By David Gaffen
The new film Bridesmaids has been saddled with the unfortunate assignment of proving a movie centered largely around women can be funny, attract audiences across all ages and (more importantly) of both genders, and bring copious amounts of sexual and scatological humor, only this time, with girls!
The results are uneven — there are a number of huge laughs, notably in the scene where several of the bridesmaids-to-be erupt in a fit of vomit and diarrhea at a wedding dress fitting caused by food poisoning at an out-of-the-way Brazilian restaurant. (The movie takes place in Milwaukee, for some reason.)
It gets good mileage out of Kristin Wiig and Maya Rudolph, both from Saturday Night Live, as longtime friends who don't see each other as much as they used to, something that comes through after Rudolph's Lillian asks Wiig's Annie to be her maid of honor. This aspect of the story is mined well, along with some of the class resentments that seep through as Wiig grows jealous of her competition, Helen, played by Rose Byrne, who is swimming in money and isn't shy about showing it.
But what's worth considering is that this movie — which fits neatly in the group of so called "Frat Pack" movies that generally feature some combination of Will Ferrell, Seth Rogen, Paul Rudd, Jonah Hill, Adam Sandler, Vince Vaughn and a few others — is, like those movies, only partially successful and should cause us to remove the rose-colored glasses that tint our memories of the likes of Old School, Anchorman and other movies in this genre.
Judd Apatow (who produced Bridesmaids) is rightfully thought of as being at the center of a lot of these films, although his movies generally have more heart than some of the others in this group, and this movie — though over the top at times — shares some of those characteristics. It falls short of The 40-Year-Old Virgin, one of the best comedies (or movies) of the last 10 years, but slots in ahead of any of the other "Look at this wacky ensemble" movies such as Dodgeball, Wedding Crashers or Pineapple Express.
Those movies have grown in reputation over time, in part because of amusing set pieces and memorable moments. But most of the movies in this roughly 10-year time period were mediocre entertainment, enlivened by those few fantastic bits (the opening of Wedding Crashers, the climactic battle in Role Models) and weighted down with a lot of ballast — with enough juicy supporting turns to keep things interesting (Tim Meadows in Walk Hard, Jane Lynch in 40-Year-Old Virgin and, well, about everywhere else she showed up).
Which doesn't make Bridesmaids anything better or worse than this genre which it fits comfortably in. Wiig's Annie is in a bad place in life, and it keeps getting worse, and that aspect of the script is refreshing. She and the other women — particularly Melissa McCarthy, who serves the Zach Galifinakas/Stephen Root role of the hefty sidekick, but gets a few soulful moments that ground the movie — are given room to shine with gross-out material usually easily handled by men
But it has its problems. Goofy side plots, such as Wiig's British roommates, and her mother's (the late Jill Clayburgh in her final film role) penchant for attending AA meetings despite not being an addict, feel unfocused. That the movie seems on its way to making a nice chunk of change (it grossed $24 million in its first weekend, putting it on the path for about $60 million unless word of mouth pushes it further) is a testament to the pedigree of the producers involved and the marketing campaign as much as it is the script, which is good, but not great.
It's progress of a sort, one supposes — this isn't Sex and the City 2 — but it will take a few more movies in this vein before this appears to be a novelty.
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Labels: 00s, Apatow, Jonah Hill, Paul Rudd, Seth Rogen
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Friday, May 06, 2011
As good as he seems to get anymore
By Edward Copeland
Last year's How Do You Know is the first feature James L. Brooks has written and directed in 23 years that almost works. Actually, I'm just being kind because I still have affection for the man. What the hell happened to him that I have to rate his work now on how much more or less painful than Spanglish it is?
Brooks wrote and directed two of my favorite films, Terms of Endearment and the even better Broadcast News. He also produced films such as Say Anything, The War of the Roses and Bottle Rocket. On television, he co-created The Mary Tyler Moore Show, Taxi and The Simpsons.
So went wrong? It's not that the movies he's made since 1987 were without charms. I enjoyed many parts of the de-musicalized I'll Do Anything starring Nick Nolte, but it was a miss (even though I'd still love to see those cut musical numbers. DVDs were invented for extras like that.)
As Good As It Gets had very good performances by Jack Nicholson and Greg Kinnear, but the storyline was very unfocused and the film as a whole was sunk when it hit the iceberg known as Helen Hunt's Oscar-winning performance, with its Bronx accent that would appear, then disappear, then reappear, then turn into some other sort of accent altogether. Supposedly, the point was that her character makes Nicholson's a better man. Honestly, I imagine she would add to his mental problems.
Then came Spanglish. Adam Sandler is unbearable enough in his comedies that give lowbrow a bad name, but somehow he becomes even worse when he tries to play it straight and serious as he does in Spanglish. What makes this mess of a movie even more of an amazing achievement (in a negative way) is that Sandler isn't its most annoying character. That title goes to Tea Leoni as Sandler's messed-up wife Deborah who fluctuates between shrew, politically concerned citizen, manic depressive and so many other troublesome traits I'm surprised her character wasn't named Sybil.
Coming from Brooks, who created or brought to the big and small screen so many great female characters such as Holly Hunter's Jane Craig in Broadcast News, Shirley MacLaine and Debra Winger's Aurora and Emma in Terms of Endearment and Mary Tyler Moore and Valerie Harper's Mary Richards and Rhoda Morgenstern on The Mary Tyler Moore Show and Rhoda, to name a few. As A.O. Scott wrote in his review of Spanglish, describing Leoni's Deborah:
...Deborah, a creature whose flailing awfulness goes beyond the requirements of comic villainy and exposes an ugly, punitive strain of misogyny at the heart of a movie that basks in its own sense of decency. Coming from Mr. Brooks, this is more than a little shocking, since strong, interesting, complicated women have been something of a specialty for him.
The longer you get away from your viewing of How Do You Know, the more it dissipates in your mind, but while you watch it, it's pleasant and entertaining enough not to cause the viewer anguish. Much of the credit for this shouldn't go to Brooks' screenplay, but to the charming presences of stars Reese Witherspoon, Owen Wilson and, most particularly, Paul Rudd.
Rudd and Witherspoon really have the lead roles of How Do You Know in parts that run on parallel tracks for much of the film while Wilson serves a mostly supporting function.
Witherspoon stars as Lisa, a legendary member of the U.S. Olympic softball team, but she's aging (all of 31!) and though she's worshipped by her younger teammates, the new coach (Dean Norris, Hank on "I can't wait until July" Breaking Bad) decides it's time to cut her loose. On the rebound. she throws herself into dating Matty (Wilson), a hugely successful Major League Baseball player who always offers a fun time but who doesn't seem to have an idea about the concept of monogamy.
Rudd plays George, who has the top job at his father Charles' financial firm, though one gets the impression that George functions largely as a figurehead while those below him and his father (Jack Nicholson) above do the heavy lifting. This changes when he's hit with a federal subpoena indicating that George may be the target of a criminal investigation. The screenplay keeps the details very sketchy but it's obvious early on who is really responsible for wrongdoing, especially by the constant hints his very pregnant assistant Annie (Kathryn Hahn) keeps trying to make.
The unraveling of George's life does serve as a catalyst for him to start doing things differently, especially after his girlfriend (Shelley Conn), who never had any interest in his life anyway, dumps him when his legal problems start, promising to return when they are over.
What starts as a strange call where George apologizes to Lisa for not calling to ask her out because a mutual friend gave him her number later turns into the predictable platonic path between the two as Lisa tries hard to make it work with Matty. The steps of the film aren't surprising in the least and Brooks really doesn't come up with any lines close to the classics he produced in his first two films as a director, but Rudd, Witherspoon and Wilson make it watchable. (Hahn deserves kudos as well.)
Nicholson, who remains one of my all-time favorites and has been served well by Brooks, who directed him to two Oscar wins and a fun extended cameo in Broadcast News, seems adrift in How Do You Know. Except for his speech that was played to overkill in ads and trailers about how he can't trust himself not to manipulate his son and that he could be doing it right then.
Rudd, who finally broke out once he pretty much devoted himself as a comic actor, keeps How Do You Know going. He can get laughs just from facial expressions, as if his face were made of rubber. Witherspoon and Wilson also have moments, but Rudd helps you forget while you watch that you know everything that is going to happen and the film lacks inspiration.
I've already forgotten most of How Do You Know and it's highly unlikely that I'll ever see it again, but at least it's no Spanglish.
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Labels: 10s, Breaking Bad, Debra Winger, Holly Hunter, MacLaine, Nicholson, Nolte, O. Wilson, Oscars, Paul Rudd
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Monday, August 02, 2010
A Banquet of Idiocy
By Liz Hunt
The trailers for Dinner for Schmucks promised how-low-can-you-go antics and I expected to sit through another movie cringing at inane scripting and acting. I've also never been a big fan of Steve Carell until this twisted tale of "who's the real schmuck" unwinds in comic setpieces.
Tim (Paul Rudd), stuck in middle management, hopes for a promotion at his private financial firm run by Lance Fender, beautifully played by Bruce Greenwood. After his big pitch at a staff meeting, Tim is invited to an informal meeting where they invite him to a special dinner.
Tim must find the biggest loser he can and bring him to a formal dinner where all the special "guests" are judged by their hosts and the employer with the best "idiot" winning a trophy.
Dinner for Schmucks is director Jay Roach's remake of Francis Veber's French farce The Dinner Game, but the American version, while flat-out uncomfortable to watch in some scenes, is roaringly funny.
Tim believes he can find an idiot and use it to get his promotion until he runs it by his girlfriend Julie(Stephanie Szostak). She is appalled by the whole idea of the dinner and makes Tim promise he'll have nothing to do with it.
That promise seems easy to keep until he is texting while driving and hits a man.
Tim jumps from the car to find an odd man with bad hair and teeth who seems unscathed by the collision. He's more interested in the condition of a dead mouse he was leaping into the street to collect. After the man, who says his name is Barry, offers to pay Tim for the wreck, things get weird.
Barry collects dead mouse carcases, dresses them and puts then in both sweet romantic and historic dioramas. Barry seems to be a clone of Chance the gardener from Being There.
There are plenty of characters Tim can use before the dinner. Julie is an art curator and her current show is by Kieran an artist who includes sex with all his partners in photographs featuring him in some sexual pose.
Barry, who thinks he has found a friend, won't let Tim have a moment's peace.
The dinner itself is one of the saddest and funniest pieces I've seen in a long time. Each "idiot" is right out-there and hard to explain.
This version of Dinner for Schmucks allows us to realize who the real schmucks are without much trouble and it’s great fun to do so.
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Labels: 10s, Paul Rudd, Remakes
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Thursday, August 20, 2009
Kindred comic spirits
By Edward Copeland
When Paul Rudd first started to appear in films, I didn't think much of him. Be it Clueless or The Object of My Affection or The Cider House Rules, he left me cold. Granted, it didn't help that I didn't care for the films either, but I found him forgettable.
Then Rudd started appearing in movies such as Wet Hot American Summer and The 40-Year-Old Virgin that showed off his subversive comic spirit and I went from having an indifferent attitude toward him to looking forward to his appearances, big or small, because I knew I'd be rewarded in some ways. Teamed with another favorite of mine, Freaks & Geeks alum Jason Segel, in I Love You, Man, I found rewards a-plenty.
I can't really think of another film that hits upon a similar storyline that I Love You, Man does (and I refuse to employ that word people tried to coin for it), but I think there's a wider look at relationships contained within the film than most gave it at first glance.
Rudd plays Peter Klaven, a Los Angeles realtor who proposes to his live-in girlfriend Zooey (Rashida Jones). Zooey excitedly shares the news with her bevy of female friends, but Peter has no one really to let in on the joy other than his family (the comic troika of J.K. Simmons, Jane Curtin and Andy Samberg). It seems that Peter has never been one to have close male friends, just bouncing from girlfriend to girlfriend since adolescence.
With the idea of a wedding party heavily weighted on the bride's side and no non-relative as a candidate to be Peter's best man, he embarks on a sudden search for male friends. As one would expect, you can't force friendships, but one does occur naturally when he meets Sydney Fife (Segel) at an open house Peter is holding for the massive home of Lou Ferrigno.
That's basically the story and it is very funny as the brash and painfully honest Sydney brings out new sides to Peter, both good and ill. I laughed more than I have at a movie in a while, especially since almost every role, no matter the size, is cast with comic pros too numerous to mention (personal favorites: Zooey's married friends played by Jon Favreau and Jaime Pressly).
One thought that crossed my mind though is how most people insist that all lives must be lived according to the shapes of the accepted cookie cutters. A man can't be satisfied without male friends. People of either gender can't live happy lives without romantic involvement, etc., etc. While I Love You, Man focuses mainly on the one, other types of lives do dance around the edges.
Directed by John Hamburg who co-wrote the script with Larry Levin, it's only in the last third that I Love You, Man begins to lose a little steam and the final complications and resolutions are predictable, but that didn't prevent me from being touched by them nonetheless.
It's a more successful lead vehicle for Rudd than Role Models, even though that one had more than its share of positives as well. I almost wish Rudd could be my best friend (he's exactly 10 days older than me), but as long as he keeps making me laugh a lot, I'll settle for that.
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Wednesday, June 06, 2007
Freaks & Geeks shall inherit the mirth
By Edward Copeland
Judd Apatow seems to defy just about everything one might hold true about certain forms of comedy. By and large, I subscribe to Jeffrey's 90-minute rule that comedies pushing their luck if they extend much past that running time, but Apatow provided a glowing exception to that rule with The 40-Year-Old-Virgin, the most I've laughed at a recent movie in ages. Then on top of that, he now seems to specialize in extremely vulgar comedies that, at their heart, hide family friendly messages: staying pure until marriage in the case of Virgin and now staying together for the sake of an unexpected baby in Knocked Up. Unfortunately, while Virgin manages to keep its momentum throughout its long running time, Knocked Up doesn't bear its extra frames as well, coming off as a bit flabby. Despite its need for some judicious trimming, it's still ends up as an entertaining way to spend your time.
One thing proving so special about Apatow's films, especially for fans of his great and short-lived TV series Freaks & Geeks and Undeclared, is his penchant for bringing back his extended family time and again, making each enterprise feel as if you've been invited to the reunion as well. Seth Rogen, part of the great ensembles of both Freaks and Undeclared, gets the lead role of Ben Stone in Knocked Up, a stoner/slacker who believes that "weed cures everything" and lives off the dwindling proceeds of a postal truck accident with dreams of an Internet fortune made from a Web site that tracks nude scenes in movies.
Other Apatow alumni along for this ride include Jason Segel (also of both Freaks and Undeclared), Jay Baruchel (Undeclared), Martin Starr (Freaks), Apatow's real-life wife Leslie Mann and two who have joined his creative clan in his films, Paul Rudd and Jonah Hill. Loudon Wainwright III of Undeclared even pops up briefly and provides part of the score and Freaks alum James Franco makes a good-natured cameo as himself. Knocked Up feels as if you're being welcomed home, but that doesn't give it an automatic pass: It still must work as a movie as well and while most of it does, it doesn't quite hit all its marks.
As most should know by now, the premise involves drunken sex between Ben and the in-normal-circumstances unattainable babe Allison (Katherine Heigl), just promoted to on-air talent at E!, that results in an unexpected pregnancy. (The E! setting also provides a priceless Ryan Seacrest cameo, showing that he's got great humor about himself.) In fact, Allison's extreme denial early on prompts her sister (the great Mann) to ask if she's one of those women who won't realize she's pregnant until she's on the toilet and a baby falls out.
So, with great hesitancy, Allison shares the situation with an understandably shocked Ben. However, he then embraces the idea of a pending spawn, even though he's nowhere near ready for any responsibility. Ben seeks advice from his thrice-married dad (Harold Ramis) who tells him that he's the best thing that ever happened to him, which Ben says only makes him feel sad for him.
The rocky relationship of Allison's sister and her husband (Rudd) gives both Ben and Allison reason to pause. Mann and Rudd both deliver great comic performances laced with pain, especially Mann who plays a character similar to Laura Dern's in Year of the Dog but Mann never sinks to caricature at the expense of humor. Rudd finds marriage to be disappointing, commenting that he wishes he liked anything as much as his kids like bubbles and comparing matrimony to a tense, unfunny episode of Everybody Loves Raymond that lasts a lifetime instead of 22 minutes.
Parts of Knocked Up remain hard to swallow. Allison's decision to try to form a lasting relationship with Ben, even if she's decided to keep the baby, seems sudden and unconvincing. You believe that he'd fall in love with her, but it sounds odd when she says the same thing once she's sober.
Despite misgivings, the film does elicit a lot of hearty laughs and even some touching moments. One favorite speech gets delivered by a doorman at an exclusive nightclub.
In the interest of full disclosure, I did not have an ideal viewing experience. For some reason, an idiot couple thought that an R-rated comedy called Knocked Up, which wears its vulgarity proudly on its trailer, looked like an appropriate film to show their 3-year-old. The kid wouldn't shut up and the parents would take him out of the theater, then bring him back. Finally, I yelled in the dark, "Take the damn kid home already." Thankfully, the kid stayed pretty quiet after that. It always helps to put the fear of God – or at least angry audience members – into people.
It's also ironic, given the movie. Sorry folks: If you can't afford a baby sitter, get ready for a few years without moviegoing. You had a child, don't make the rest of the moviegoing public pay for it.
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Judd Apatow seems to defy just about everything one might hold true about certain forms of comedy. By and large, I subscribe to Jeffrey's 90-minute rule that comedies pushing their luck if they extend much past that running time, but Apatow provided a glowing exception to that rule with The 40-Year-Old-Virgin, the most I've laughed at a recent movie in ages. Then on top of that, he now seems to specialize in extremely vulgar comedies that, at their heart, hide family friendly messages: staying pure until marriage in the case of Virgin and now staying together for the sake of an unexpected baby in Knocked Up. Unfortunately, while Virgin manages to keep its momentum throughout its long running time, Knocked Up doesn't bear its extra frames as well, coming off as a bit flabby. Despite its need for some judicious trimming, it's still ends up as an entertaining way to spend your time.
One thing proving so special about Apatow's films, especially for fans of his great and short-lived TV series Freaks & Geeks and Undeclared, is his penchant for bringing back his extended family time and again, making each enterprise feel as if you've been invited to the reunion as well. Seth Rogen, part of the great ensembles of both Freaks and Undeclared, gets the lead role of Ben Stone in Knocked Up, a stoner/slacker who believes that "weed cures everything" and lives off the dwindling proceeds of a postal truck accident with dreams of an Internet fortune made from a Web site that tracks nude scenes in movies.
Other Apatow alumni along for this ride include Jason Segel (also of both Freaks and Undeclared), Jay Baruchel (Undeclared), Martin Starr (Freaks), Apatow's real-life wife Leslie Mann and two who have joined his creative clan in his films, Paul Rudd and Jonah Hill. Loudon Wainwright III of Undeclared even pops up briefly and provides part of the score and Freaks alum James Franco makes a good-natured cameo as himself. Knocked Up feels as if you're being welcomed home, but that doesn't give it an automatic pass: It still must work as a movie as well and while most of it does, it doesn't quite hit all its marks.
As most should know by now, the premise involves drunken sex between Ben and the in-normal-circumstances unattainable babe Allison (Katherine Heigl), just promoted to on-air talent at E!, that results in an unexpected pregnancy. (The E! setting also provides a priceless Ryan Seacrest cameo, showing that he's got great humor about himself.) In fact, Allison's extreme denial early on prompts her sister (the great Mann) to ask if she's one of those women who won't realize she's pregnant until she's on the toilet and a baby falls out.
So, with great hesitancy, Allison shares the situation with an understandably shocked Ben. However, he then embraces the idea of a pending spawn, even though he's nowhere near ready for any responsibility. Ben seeks advice from his thrice-married dad (Harold Ramis) who tells him that he's the best thing that ever happened to him, which Ben says only makes him feel sad for him.
The rocky relationship of Allison's sister and her husband (Rudd) gives both Ben and Allison reason to pause. Mann and Rudd both deliver great comic performances laced with pain, especially Mann who plays a character similar to Laura Dern's in Year of the Dog but Mann never sinks to caricature at the expense of humor. Rudd finds marriage to be disappointing, commenting that he wishes he liked anything as much as his kids like bubbles and comparing matrimony to a tense, unfunny episode of Everybody Loves Raymond that lasts a lifetime instead of 22 minutes.
Parts of Knocked Up remain hard to swallow. Allison's decision to try to form a lasting relationship with Ben, even if she's decided to keep the baby, seems sudden and unconvincing. You believe that he'd fall in love with her, but it sounds odd when she says the same thing once she's sober.
Despite misgivings, the film does elicit a lot of hearty laughs and even some touching moments. One favorite speech gets delivered by a doorman at an exclusive nightclub.
In the interest of full disclosure, I did not have an ideal viewing experience. For some reason, an idiot couple thought that an R-rated comedy called Knocked Up, which wears its vulgarity proudly on its trailer, looked like an appropriate film to show their 3-year-old. The kid wouldn't shut up and the parents would take him out of the theater, then bring him back. Finally, I yelled in the dark, "Take the damn kid home already." Thankfully, the kid stayed pretty quiet after that. It always helps to put the fear of God – or at least angry audience members – into people.
It's also ironic, given the movie. Sorry folks: If you can't afford a baby sitter, get ready for a few years without moviegoing. You had a child, don't make the rest of the moviegoing public pay for it.
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Labels: 00s, Apatow, Franco, Jonah Hill, L. Dern, Paul Rudd, Ramis, Seth Rogen, Television
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Friday, May 18, 2007
Indie chowder
By Edward Copeland
No matter how many of the ingredients sound good — a talented cast, promising reviews, an interesting time period, an unusual locale — it's no guarantee that the recipe will produce a truly satisfying dish and that is sadly the case with Diggers.
Directed by Katherine Dieckmann and written by co-star Ken Marino, Diggers tells the story of four independent clam harvesters on Long Island Sound during the 1976 presidential election. The guys are slowly seeing their business evaporate as a company takes over more of the waters and their income with it.
Paul Rudd stars as Hunt, a guy almost more laid back than the movie itself. At the outset, he and his older sister Gina (Maura Tierney) have to deal with the sudden death of their father, a longtime clam harvester. There could almost be a Big Chill-vibe to the whole proceedings, except no one travels from far away for the funeral since they already live there and the film is so lowkey, no event seems to be particularly lifechanging.
In fact, there's nothing urgent in Diggers. It's not bad and it's not really boring, it's just so mellow and so little happens, that it leaves little impression at all. It seems as aimless as some of its characters, so when the "climax" happens, it doesn't resonate at all.
The 1976 setting doesn't seem to have much purpose other than I imagine this was the situation for clam harvesters then as opposed to now, but the parallels it seems to want to draw with the Ford-Carter election fail to connect.
Everyone is good, especially Josh Hamilton as a digger who deals in philosophy and drugs on the side. It's also nice to see Lauren Ambrose again after Six Feet Under, playing a Manhattanite involved in a flirtation with Rudd.
Diggers leaves me speechless in the truest sense of the word because really, I don't have anything to say about it at all.
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No matter how many of the ingredients sound good — a talented cast, promising reviews, an interesting time period, an unusual locale — it's no guarantee that the recipe will produce a truly satisfying dish and that is sadly the case with Diggers.
Directed by Katherine Dieckmann and written by co-star Ken Marino, Diggers tells the story of four independent clam harvesters on Long Island Sound during the 1976 presidential election. The guys are slowly seeing their business evaporate as a company takes over more of the waters and their income with it.
Paul Rudd stars as Hunt, a guy almost more laid back than the movie itself. At the outset, he and his older sister Gina (Maura Tierney) have to deal with the sudden death of their father, a longtime clam harvester. There could almost be a Big Chill-vibe to the whole proceedings, except no one travels from far away for the funeral since they already live there and the film is so lowkey, no event seems to be particularly lifechanging.
In fact, there's nothing urgent in Diggers. It's not bad and it's not really boring, it's just so mellow and so little happens, that it leaves little impression at all. It seems as aimless as some of its characters, so when the "climax" happens, it doesn't resonate at all.
The 1976 setting doesn't seem to have much purpose other than I imagine this was the situation for clam harvesters then as opposed to now, but the parallels it seems to want to draw with the Ford-Carter election fail to connect.
Everyone is good, especially Josh Hamilton as a digger who deals in philosophy and drugs on the side. It's also nice to see Lauren Ambrose again after Six Feet Under, playing a Manhattanite involved in a flirtation with Rudd.
Diggers leaves me speechless in the truest sense of the word because really, I don't have anything to say about it at all.
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