And now, the WORLD PREMIERE of a short new feature. When I began to write reviews, many of them were decidedly tiny and as I found myself wanting to delve deeper into the films and my thoughts about them, the reviews became the ones you see today. This series is designed to further house old reviews I wrote and are more on the brief side.
To begin, I would like to piggyback from the previous review and foreshadow the next full length review by focusing on a few raucous comedies from Ben Stiller and the Judd Apatow factory.
"DRILLBIT TAYLOR" Directed by Steven Brill (2008)
** (two stars)
Is Judd Apatow the new John Hughes? With his now patented mix of the sweet and profane, Apatow is the current "King Of Comedy," with an assembly line of no less than FOUR features scheduled to open in theaters this year. So it seems perfect that Apatow's first 2008 entry is a collaboration with frequent player Seth Rogen (as the film's co-writer) and based upon an original story idea by John Hughes from over 20 years ago. Unfortunately, the result is surprisingly toothless, perhaps hemmed in by its own formula and PG-13 rating.
"Drillbit Taylor" follows the first adventures of a trio of high school freshmen who enter their first day of high school to be menaced by a sadistic bully. Enter Owen Wilson as the titular character, a homeless, Army deserter, con-artist who befriends the boys under the guise of being their bodyguard as well as substitute teacher but who secretly has plans to rob their affluent surroundings. Will the con-artist learn the value of true friendship? Will he find true love with the sexy English teacher (Apatow's wife Leslie Mann)? Will the boys have their coming of age through a confrontation with the bully? If you have never seen a movie before, you will probably have no idea of the answers to these questions. Most likely you have and everything occurs just as you would expect with no surprises, artless and plodding direction, and overall sanitized nature that goes against what has made many of Apatow's productions--from the extraordinary "Freaks and Geeks" through "Superbad" and "Knocked Up"--such an absolute pleasure. There's nothing wrong with a formula movie, but if it doesn't play with its own conventions, the proceedings can come out stale.
That said, "Drillbit Taylor" isn't awful by any means. It has a breezy, non-offensive charm and gentleness due to Owen Wilson's laid back presence. The movie truly seems to like our three heroes and we do wish them victory. But, as a warning to Apatow, what ended up derailing John Hughes from his throne was an amass of increasingly half-baked features that streamed from his assembly line at a rate of two films a year (with 1991 as a high with four films). I don't want that to happen with Apatow, where frequency outweighed quality. Better luck next time with April's release "Forgetting Sarah Marshall."
Originally written March 21, 2008
"FORGETTING SARAH MARSHALL" Directed by Nicholas Stoller (2008)
**** (four stars)
Judd Apatow and his band of merry men are back on track with this painfully observed and performed romantic comedy, this time written by lead actor Jason Segal. By now, the plot is familiar. Kristen Bell plays the titular "Sarah Marshall," an actress on a "CSI" styled television show. Segal plays Peter, a musician who composes the music score for the program but dreams of crafting his "Dracula" themed rock opera...with puppets, no less! Sarah dumps Peter at the opening of the film and to assist with his healing after the mortifying breakup, Peter high-tails it to Hawaii only to find Sarah at the same hotel, now dating rock star Aldious Snow (Russell Brand).
The set-up is prime "rom-com" material, but as with previous Apatow films, the formula is turned inside out with a variety of colorful supporting characters (represented by the Apatow Repertory Players, Jonah Hill and Paul Rudd), fully developed leading characters who continue to reveal themselves well into the "third act" and again, painfully observed moments into relationships as they may seem in real life.
It takes the road where "The Break-Up" (2006) never had the guts to travel. That said, this film is not as funny or as raucous as "The 40 Year Old Virgin," "Knocked Up" or "Superbad." The humor is more minutely presented, thanks to Segal's sharp screenplay. In fact, this film reminded me of an equally squeamish and painful romantic comedy, written and directed by Albert Brooks--1981's "Modern Romance." Enormous credit must be given to Jason Segal who gives an absolutely fearless performance and not just for the full frontal. He is so vulnerable, so wounded, so pathetic and most importantly, so very true, that watching his nearly two hour emasculation may be a bit much for some. At points, you just ache for him and only want his happiness. Thankfully, he is rescued by Mila Kunis, whose breezy and seemingly effortless performance as the woman who lifts Peter's spirits, equally lifts the movie every time she is around. And please forgive the "mash note" quality of this last piece but I have never seen "That 70s Show" and I have no idea who Kunis is. But...good God, she is truly, truly stunning. And as lovely as Ms. Bell is, I would easily forget Sarah Marshall if Ms. Kunis was around!
Originally written April 18, 2008
"PINEAPPLE EXPRESS" Directed by David Gordon Green (2008)
**1/2 (two and a half stars)
With the vintage Columbia Pictures studio logo to begin the film, "Pineapple Express" is a 21st century update of the 80s action comedy. Unlike some of Producer Judd Apatow's mega-hits, this film, co-written by Seth Rogen and directed by David Gordon Green, strives to remain on the fringes and ultimately succeeds. I have a strong feeling that after the initial buzz wears off, the future of this movie will be proudly delegated to cult status and I envision this being screened at many parties on DVD for years to come.
As it stands, it is a ragged hybrid of rambling stoner dialogue, a few genuinely touching moments, wild, improbable and violent action sequences, as well as a healthy serving of homo-erotic humor and I believe that Apatow and his faithful crew wouldn't have wanted it any other way. Unlike "The 40 Year Old Virgin," "Knocked Up," "Superbad" and "Forgetting Sarah Marshall," where the plots contained universal appeal that anyone could relate to (relationships, break-ups, sexual anxiety, the teen years), the greatest success of "Pineapple Express" may rest with those who truly understand what is it like to be constantly stoned (as Seth Rogen and James Franco's characters are from one end of this film to the other) or have at least experienced the sensation. If one hasn't, like myself, some of the humor may be a little lost and for every hazy sequence that works (Rogen and Franco playing leapfrog in the woods) there may be another that just doesn't.
That said, I do have to give great credit to James Franco as Saul the drug dealer. His performance is so charmingly lucid and with subtle line readings, he hints at Saul's extreme loneliness and the disappointment he feels concerning the direction of his life. I almost wished the film followed his character and Seth Rogen's was the sidekick. Yet, they make an effortless team and I give the whole film a mild endorsement.
Originally written August 6, 2008
"WALK HARD: THE DEWEY COX STORY" Co-Written and Directed by Jake Kasdan (2007)
*** (three stars)
Comedy is hard and parodies have to be especially so. For every "Airplane!" there's many films on the level of an "Epic Movie." I have to say that I was reluctant to see this film in theaters because I was nervous that the parody would inevitably run out of steam. Now on DVD, I was very surprised to see how strong the film actually is and it is another success for Co-Writer/Producer Judd Apatow and his compatriots, most notably the talents of Co-Writer/Director Jake Kasdan.
Yes, this film is a pastiche of "Walk The Line," "Ray" and nearly every single biopic and "Behind The Music" program you've ever seen. With the infectious and joyous performance by John C. Reilly at the helm, we are carried through the four decade career of the Johnny Cash-ish Dewey Cox as we witness his tragic upbringing, the birth of his innate talent, the years of addiction and rehab, his redemption and final performance...all the hallmarks of the standard biopic and set to the strikingly well-written songs (the Bob Dylan parodies are a highlight). Every possible convention of the biopic is affectionately slaughtered (one of which is the standard of having the lead actor play the character from teenage years to old age) and while the film does have some misses and slows down a bit in the final third, "Walk Hard" is smart, scathing and highly entertaining.
Originally written Spring 2008
"TROPIC THUNDER" Co-Written and Directed by Ben Stiller (2008)
***1/2 (three and a half stars)
I had all but given up on Ben Stiller. I was so tired of his continuous run as the sexually frustrated nebbish who flirted with disaster and was constantly subjected to meeting parents and being confounded by women named Mary or Polly. It was just too much of the same thing and I feared he was going to go the way of Meg Ryan--more roles that were all the same. Thankfully, Stiller has re-emerged with his satiric teeth bared, extended and ready to chomp with his adrenalized and boisterous satire "Tropic Thunder."
I do have to agree with some critics that some of the biggest laughs occur right at the film's start but that's not to say the film nose-dives the rest of the way. In fact, the characters are so very well drawn, their motivations are precise and clear and unlike the awkward blend of violence and comedy from "Pineapple Express," this film makes everything work together, especially in a couple of "Python-esque" bits of gross-out humor. Nothing is sacred but the target is firmly placed on Hollywood, the powers that be and the Method Actors lost in a madness of their own making.
All of the performances are right on course, with Robert Downey Jr. (on a roll) giving another career making performance as Kirk Lazarus, a five time Oscar winner now portraying an African-American soldier in a bid for one more accolade. What could've been a disgusting return to the minstrel show becomes a razor sharp dig against all of the inner and outer transformations some actors go through for a role--including Downey Jr. for this one! Jack Black does seem to be the odd man out a bit but he gets a gut-busting laugh as his heroin addicted comedy star aching for artistic credibility is shackled to a tree, going through heroin withdrawal, desperately trying to negotiate his release. And then, there's Tom Cruise as the volcanically vulgar and grotesque studio head, Les Grossman, whose litany of expletives and full-on gangsta dance moves have to be seen to be believed. Back to Ben Stiller. I am so glad he's back. His duties as co-writer, producer and director for this are all top notch and I have to say, it makes me more anxious to see his upcoming collaboration with Cameron Crowe.
(2010 SIDE NOTE to this review: As it stands, the collaboration between Stiller and Crowe for a rumored project entitled "Deep Tiki," is currently not happening as both men are eyeing new projects. I do hope, however, that they team up for a project in the future.)
Originally written August 15, 2008
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