Rapture-Palooza

Directed by Paul Middleditch.

2013. Rated R, 85 minutes.

Cast:

Craig Robinson

Anna Kendrick

John Francis Daley

Rob Corddry

Ana Gasteyer

Thomas Lennon

Ken Jeong

Tyler Labine

Paul Scheer

Adrianna Costa

If you're familiar with the Bible then you know that after the Rapture, things on Earth go haywire. Well, that's where we are. Much of the population has vanished from the planet and taken up residence in Heaven. Those left behind have to deal with locusts, blood rain, falling meteorites, wraiths, and yes, The Anti-Christ in the form of Earl Grundy (Robinson) who prefers to be called, what else, The Beast. He's taken over the U.S. government, dropped nukes on Chicago and Orlando among other places around the world. Now, he's living in Seattle and has taken a liking to local girl Lindsey (Kendrick). Not being the sort of girl that goes for bad boys, but one that does have a boyfriend, she turns him down flat. Unfortunately, you just can't tell the Anti-Christ no. He gives her an ultimatum. Either she marries him or he will kill everyone in her family. She has eight hours to decide. What's a girl to do?

Immediately, we start down the path of religous satire. It's meant to be a rather irreverent one, at that. No problem. A number of good movies have successfully taken on organized religion. Even if you're a devout follower of one or another, you have to admit it's a big target. From time to time, someone is going to take a shot at it. Sadly, even if you were nodding off reading up to this point, nothing as interesting as this review happens in Rapture-Palooza. I'm not just tooting my own horn, either. Travel around to as many different sites and read as many different reviews as you want. I promise every one of them will be far more intriguing than this movie.

Our heroes are just plain bland, and yes, I purposely put two synonyms next to each other for emphasis. Anna Kendrick sleepwalks through her role in the lead. John Francis Daley, who plays her boyfriend Ben, whines his way through his. I really wanted to slap him. Hard. Twice. At least. As our villain, Craig Robinson pretty much does what Craig Robinson does. He isn't necessarily bad, just failed by the writing of his character. In a movie meant to spoof Christianity, the character of the Anti-Christ is ripe with possibilities. There are so many depths to be mined. However, this movie is content to have him talk dirty, really dirty, to Anna Kendrick. Further robbing the character of any power, his behavior, and his race merely exploit stereotypes in hopes of getting cheap laughs. It doesn't. Instead, it just plays like white guy paranoia. Literally, it feels like it's a movie about a big evil black guy out to take an innocent white woman from her loving white boyfriend. That their grand solution is trying to lock him up doesn't help matters. Oops, spoiler alert...not really.

Believe it or not, there are actually three potentially interesting characters in the movie. The first is Lindsey's mom Lora (Gasteyer). She was taken during the rapture, but was sent back. All she gets to do is cry. A loud, fake "movie" cry. Let's move on. Next is Mr. Murphy (Lennon). He's become a zombie, but doesn't try to eat anyone. Neither do any of the other zombies, but that's beside the point. Mr. Murphy seems to have a story that's begging to be told. He just pushes an imaginary lawn mower until he gets a real one. Sigh. Finally, Ben's dad Walt (Corddry). He's one of the few who has managed to make a nice living and has done so by working for The Beast. Hmmm....could be a complex character that gives us some food for thought. Nope. His job is to repeatedly urge Lindsey to marry his boss. Ugh. At least we get an unfunny cameo from Ken Jeong. SMH.

Here is where I usually try to wrap up my review with a nice tidy conclusion summarizing all of my thoughts on the movie. On a good day, I'll end it with a clever sentence. This ain't a good day, boys and girls. Rapture-Palooza sucks and I've spent far too much time on it.

MY SCORE: 0/10

Drinking Buddies

Directed by Joe Swanberg.

2013. Rated R, 90 minutes.

Cast:

Olivia Wilde

Jake Johnson

Anna Kendrick

Ron Livingston

Jason Sudeikis

Ti West

Kate (Wilde) and Luke (Johnson) work at the local brewery. After a long, but usually fun day at work, they tend to head down to the nearest bar with a number of their other co-workers and drink lots of their own product. It is painfully obvious the two have a thing for each other. The issue here is two-fold: 1) Each is involved in a serious relationship with someone else, and 2) Neither of them will own up to how they feel about the other. Instead, they flirt endlessly. They do it that way people do when they have a really strong connection. Of course, they think it is mere friendship. So Kate thinks it's no big deal to invite Luke and his girlfriend Jill (Kendrick) up to her boyfriend Chris' (Livingston) beach house for the weekend. They accept. Life rolls on from there.

When I say 'life rolls on,' that's probably the best compliment I can give this movie. It's a true slice-of-life flick in every sense of the term. There really is no plot. Everything about our leads are just the facts of who they are, not set ups for some grand character arc. Finally, Drinking Buddies doesn't end so much as it just stops. When it does, I wouldn't blame anyone who throws their arms up and says "WTF!" when the final credits roll. I suspect that's what's behind the disparity between how critics view this movie and how normal folks see it. Critics have praised it while audiences are rather lukewarm toward it. The things it doesn't have are the things we've been trained to expect from our films. Without those things we're left with a feeling of uncertainty about what we just watched. A movie lacking a definitive beginning, middle, and end might not immediately make sense to us.

Enjoying DB requires a willingness to take it on its own terms and, perhaps, actually thinking about it afterwards. That's because we may have to sort some things out. It does what I often knock other movies for not doing. It shows, not tells. Counter intuitive to that sentiment, this movie is much more noun than verb. It is something that is, not something that does. We're used to our visual media "doing" for us. It sticks around until the bad guy is caught and the hero gets the girl. Little to no effort is required of us. Therefore, most of us don't have the energy for a movie with a figurative test at the end. I like this movie. That's not to say I'm smarter than people who don't. I'm just more willing to put in the work necessary to appreciate it.

I feel like I've rambled quite a bit without saying much about the actual film. There really are reasons to enjoy it as it goes along. Right away, it positions itself as a dramedy. It makes us laugh, but that's not necessarily it's aim. It's more about exploring the relationship between Kate and Luke. Whatever drama or humor that comes out of this is organic to the human experience, not gags or overly contrived melodrama. To their credit, our stars are an immense help in this area. Both Olivia Wilde and Jake Johnson deliver completely natural performances. Wilde is particularly good. Her best acting is done by her eyes during pauses in dialogue. When she speaks, she feels like a woman we might know. The same is true for Johnson. Well, he sounds like a man we might know, not a woman. You understand. Through the two of them, we sense these are people who are aware of their feelings, but struggling mightily not to act upon them. Immediately, we start wondering "will they," or "won't they." This uncertainty drives the movie. Our curiosity happily rides along on this train. I like where it drops us off. I'm not sure you will.

End of Watch

Directed by David Ayer.

2012. Rated R, 109 minutes.

Cast:

Jake Gyllenhaal

Michael Peña

Anna Kendrick

Natalie Martinez

America Ferrera

David Harbour

Frank Grillo

Cody Horn

Jaime FitzSimons

Brian (Gyllenhaal) and Mike (Peña) are partners in the LAPD. Together, they patrol some of the meanest streets in Los Angeles. Having spent countless hours in a squad car discussing anything and everything, they've grown to form a brotherly bond. Brian is a bachelor who studies law and shoots video of everything. We view most of the film through his lens. Mike is married with a baby on the way. We follow the dynamic duo as they serve and protect. Eventually, some overzealous tactics find them interfering with the business of a Mexican Cartel operating in the City of Angels. Hazards of the job ensue.

The main strength of End of Watch is that we come to know these officers as well as they know one another. We’re privy to some intimate conversations that inform us how each guy thinks. We appreciate them for who they are and can understand the choices they make, even if we don’t always agree. Both Jake Gyllenhaal and Michael Peña help the process along with completely natural performances. We really feel as if we’re riding along with two cops on their day-to-day grind, passing downtime with both profundity and profanity. When off-duty, we even get to know their significant others: Mike’s wife Gabby (Martinez) and Brian’s girlfriend Janet (Kendrick). Even the other cops fit nicely into the story. Among these supporting players, look for America Ferrera who is very effective playing a role way off-type for her. It all helps create a well-rounded portrait of the two men at the eye of this particular storm.

Of course, watching a couple cops drive around in their squad car is only half the story. The more viscerally thrilling part is what happens when they’re actively fighting crime. These guys manage to stumble upon some really wild and gruesome scenarios. Some of them are more dangerous than others, a few of them heartbreaking, all of them heart-pounding. Though it all works itself into a coherent narrative, the plot doesn't dominate every waking moment as it would in most movies. It’s something that develops on the very edges of the peripheral awareness of our heroes. What they do know they don’t even take that seriously. This gives the story a more organic feel.

Unfortunately, some well-worn Hollywood tropes figure into our finale. While it is effective at making us sad, it’s still predictable. While I don’t find it to be quite racist, I might not argue with anyone who thinks otherwise. Point being, cinematic history certainly has its favorites which this movie doesn't deviate from. That said, the film creates a dilemma for itself. A slightly darker ending would likely be too cynical, a lighter one too easy. An inversion of what happens might be the braver conclusion, but less commercially viable. None of this is to say End of Watch is ruined by its climax. We’re still emotionally taxed by the last few frames. We've still had an enjoyable, if torturous, experience.

50/50

What to Expect When You're Expecting

Directed by Kirk Jones.

2012. Rated PG-13, 110 minutes.
Cast:
Cameron Diaz
Jennifer Lopez
Elizabeth Banks
Brooklyn Decker
Anna Kendrick
Dennis Quaid
Ben Falcone
Rodrigo Santoro
Chris Rock
Rebel Wilson
Thomas Lennon
Wendi McLendon-Covey
Chace Crawford

If you’re eternally optimistic like me, or not, and have children you’d expect to laugh during a movie that bills itself as “laugh out loud funny for any parent!” Trust me, it does. Says so right on the back cover of the DVD, exclamation point included. Sadly, this may be the best joke involved with this movie, even if it is on me. My mother was right. I’m too gullible. She warned you couldn’t always depend on the goodness of Mankind or of advertising geeks who work for movie studios.

Unlike the blurbs occupying real estate on its cover, the title What to Expect When You’re Expecting is accurate. After all, we do meet a handful of women who will very shortly be expecting. By the way, this movie is based on the best-selling advice book of the same name. That probably should’ve been a warning. Anyhoo, we then journey through pregnancy with the soon-to-be mamas. In short order there’s the fitness guru/reality tv star (Diaz), the pregnancy expert who’s never been pregnant (Banks), the photographer who can’t get pregnant (Lopez), the girl who runs a food truck (Kendrick) and the NASCAR trophy-wife (Decker). Other than Banks and Decker, these ladies have nothing to do with each other. Well, almost nothing. At some point, they cross paths with each other in the most brief and contrived ways possible but still don’t get involved in one another’s stories. No, the scene in the pic above never happens.

However unrelated they may be, they do have something in common besides swollen bellies. Not one of them is the least bit funny. Almost none, but we'll get to that. Part of the problem is these women are not all that likeable. They’re self-absorbed mongers whose pregnancies have little to do with the circle of life. Instead of nurturing bundles of joy they seem to be incubating accessories - assets in one’s portfolio or validation of self-worth, and so on. Most galling, one is merely a depressing plot point in a budding romance.

None of the actresses turn in memorable work, either. Elizabeth Banks fares best and is part of the funniest, most heartfelt and oddest scene. Lopez does her best to look constantly forlorn. Diaz’s Jillian Michaels impression is meant to be a hilarious parody but fails miserably at the hilarious part. Finally, Decker seems to be channeling Jaime Pressly making me wonder why they didn’t just get the real thing. For the most part their men blend seamlessly into the background. The normally unexciting Dennis Quaid plays Decker’s husband/racing legend and stands out simply because we’re positive he has a pulse. And yes, since this is a “zany” comedy everyone will go into labor at precisely the same time. Gee, without me you never would’ve guess…who am I kidding? You knew that was a sure bet as soon as the second lady turned up in a family way. I confess, there is one exception. J-Lo literally takes the Angelina Jolie route to family expansion. Even that wraps itself up right on cue. Sigh.

Sideline players fare ever-so-slightly better. Rebel Wilson is mostly just there but elevates the Banks scene I referenced earlier. Wendi McLendon-Covey hits with a few zingers during her limited time on-screen. Most consistently amusing is the group of fathers who walk together in the park, kids in tow, led by Chris Rock and Thomas Lennon. They aren’t “laugh out loud funny for every parent,” but they’re a welcome reprieve from all the hand-wringing and failed humor of the major storylines. None of this is enough to salvage this heap. What to Expect is a classic case of a talented ensemble given nothing to work with and going through the motions.

Pitch Perfect

Directed by Jason Moore.

2012. Rated PG-13, 112 minutes.

Cast:

Anna Kendrick

Brittany Snow

Rebel Wilson

Skylar Astin

Anna Camp

Ben Platt

Adam DeVine

Freddie Stroma

Hana Mae Lee

Alexis Knapp

Ester Dean

Elizabeth Banks

John Michael Higgins

John Benjamin Hickey

Christopher Mintz-Plasse

The Barden Bellas are an all-female competitive acapella group who’ve literally puked away their chances at winning a national championship. When the next school year starts up, the only two returning members are the iron-fisted Aubrey (Camp), who did the puking, and Chloe (Snow) her BFF and kinda, sorta co-leader. They need to recruit a whole new team but are having trouble finding people willing to join. It doesn’t help that the actual champions are the Treblemakers, an all-male group who also attend Barden University. Much to Aubrey’s chagrin, she and Chloe gather a group of misfits from all ethnicities and orientations they have to whip into shape. Among them is Beca (Kendrick), a reluctant college student. She wants to be a DJ, but her dad teaches at the school and is pretty much making her go. Of course, if you’ve only seen the trailers for Pitch Perfect then you know another of the new girls is Fat Amy (Wilson), a rambunctious soul from Tasmania. Lots of singing ensues.

Singing is what the movie does best. A seemingly endless succession of already catchy pop tunes from the 80s forward are given fun re-workings. I’m not sure how many of these would-be idols would make it to Hollywood, but they’re having a grand time with some fun songs. We have little choice but to do the same. It’s rather easy to get caught up in tapping your feet and singing along.

What it also does well is be silly. Here is where Fat Amy comes in. A sizable share of the movie’s funniest moments are hers. Her timing is rock solid and she has charisma to spare. It might be the best comedic performance of the last few years including 2011’s Oscar nominated turn by Melissa McCarthy in Bridesmaids, a movie Wilson also has a role in. Most of the other funny moments are handled by Adam DeVine as Bumper, the leader of the Treblemakers. If there is one drawback to this pair is that what’s hinted at is never really explored as Bumper rather abruptly disappears from the proceedings. It’s too bad because that may have led to even more hijinks and shenanigans. Whatever funnies those two are not responsible for usually come from Elizabeth Banks and John Michael Higgins as competition commentators.

When other characters try to get in on the laughs, things don’t go so well. The main problem is that the rest of the Bellas are all one dimensional stereotypes. Whatever aspect of themselves we’re first shown of most of the ladies is all there is to them and they act only on those surface traits. For instance, the Japanese girl is a weird mix of traditionally docile housewife and a character from a twisted Asian horror flick, the black lesbian is constantly trying to grope one of the other Bellas and is relentlessly ghetto-butch, the promiscuous girl only expresses herself in overtly (hetero)sexual terms constantly groping herself, and so on.

Another place Pitch Perfect hits sour notes is during time spent on plot development. Whenever our principles aren’t harmonizing and/or going for laughs, the movie just works down the checklist of both rom-com and sports movie clichés (predictable break-up and training montages, for instance). From a character standpoint, Beca is the movie’s focal point. Her daddy issues (I don’t remember ever hearing about mom), musical prowess, battles with Aubrey and budding romance with Jesse (Astin) are all front and center without a surprise anywhere. To be honest, that isn’t even the real issue, though. The problem is how bland our heroine is. The others talk about her like she’s some way out there alt-girl or some kind of rebel threatening the establishment. Having her played by the fresh-faced but not particularly intriguing Anna Kendrick works against those ideas and we never feel Beca will do anything other than what she eventually does. It feels like she’s been modeled after pop star Avril Lavigne, or possibly Pink, but without the edge of either.

Truth told, even with the paint-by-numbers storytelling and the horrible stereotypes Pitch Perfect is a fun flick. It’s strengths provide enough cover for the flaws to keep us patiently waiting on the next musical set. To be on the safe side, we get them everywhere: on the bus, in the shower, at impromptu competitions on campus and, of course, on the stage. This and the wonderful performance of Rebel Wilson keeps us in a good mood most of the way through.

ParaNorman

Directed by Chris Butler and Sam Fell.

Rated PG, 92 minutes.

Cast:

Kodi Smit-McPhee

Tucker Albrizzi

Anna Kendrick

Casey Affleck

Christopher Mintz-Plasse

Leslie Mann

John Goodman

Jeff Garlin

Bernard Hill

Elaine Stritch

Tempestt Bledsoe

Jodelle Ferland
Ariel Winter

Norman Babcock (Smit-McPhee) is that kid, the one everyone else thinks is weird. They have good reason. After all, he has no problem telling people he talks to the dead. Though no one believes him, he really can. In fact, his most frequent companion is his long passed grandmother (Stritch) who watches TV with him. With no way of proving this, as you might imagine, his living family members are rather disturbed by his behavior. Soon enough, we learn Norman has an uncle, Mr. Prenderghast (Goodman), that has the same ability. When that uncle dies, he warns Norman that it is up to him to stop the curse. Of course, Mr. Prenderghast doesn't tell exactly what the curse is. Matters become rather urgent when zombies start climbing out of the local graveyard. Yes, everyone in town can actually see them. And yes, this is still a kiddie flick.

Like a lot of movies aimed at children, ParaNorman focuses on how an outcast becomes a hero. It just chooses to do so through much more macabre means. It traipses into horror's shallowest waters but never immerses itself. Terrifying the audience is off-limits. The characters on the screen are plenty scared, but their plight is handled with a good deal of levity. And the jokes actually work. Dialogue is often sharp, though it does lapse into the standard Disney Channel schtick of a big sister being mean to her brother on too many occasions.

Even without frights, ParaNorman still manages to create tension. Much of this is due to the fact there is quite a bit of mystery surrounding just what Norman is supposed to do and why. This partially clears up, but even as we near the climax we're not real sure what he's going to do. Even he's not particularly certain. Rest assured, he does "something." It's a bit of a letdown because the last few minutes of our showdown scene get a bit too preachy, spelling out the moral of the story for us. Still, it's very enjoyable to that point.

Up in the Air

Directed by Jason Reitman.

2009. Rated R, 109 minutes.
Cast:
George Clooney
Vera Farmiga
Anna Kendrick
Jason Bateman
Amy Morton
J.K. Simmons
Melanie Lynskey
Sam Elliot
Tamala Jones

Ryan Bingham's (Clooney) job is to travel around the country firing people. However, he faces an uncertain future as his company considers taking him off the road.

George Clooney has entered the rarefied air of Pacino, DeNiro, Nicholson and Washington. I mean, his persona and presence is so overwhelming that he seems to be playing himself in every role but it still works perfectly. He simply dominates the screen, commands you to look at him and compels you to root for him, even when we know we shouldn't. This quality combines with an outstanding script to make the movie work wonders. It vacilates between funny and sad to create empathy. Clooney isn't alone in excellence. His two female co-stars, Farmiga and Kendrick are both great, as is Jason Bateman as Clooney's boss. Still, it's the series of firings that ground the movie, with two that particularly stand out. One is the first victim of the company's new technology. It's a jarring look at the coldness that advancing technology can often bring with it. The other is a brief but powerful cameo by Tamala Jones (Daddy Day Camp, The Brothers, The Wood) that literally haunts the movie.

As much as it plays on our economic fears, it still manages to largely avoid real issues of recession. It's present but our characters are not only above it all, but seem almost totally unaffected (aside from their occasional sympathy). Yes, what the company is considering is a cost-cutting measure but it's more the natural evolution of a business that's thriving. Therefore, it can come across as insensitive, at times. Finally, near the end, our hero begins to make a grand gesture for one of his sisters. However, we never see how that plays out and are robbed of a potentially great moment.

2009 gave us two movies essentially about hopeless womanizers and the path to loneliness that the playboy lifestyle really is, this one and Ghosts of Girlfriends Past. If that premise appeals to you, see this one and skip that one. That is, if you're looking for something that handles the subject with both humor and maturity. If you desire to see something zany with more eye candy...and stupidity, then go for the other one.

MY SCORE: 9/10

The Twilight Saga: Breaking Dawn - Part 1

The Twilight Saga: Eclipse

The Twilight Saga: New Moon

Twilight

Scott Pilgrim vs. the World

Directed by Edgar Wright.
2010. Rated PG-13, 112 minutes.
Cast:
Michael Cera
Mary Elizabeth Winstead
Ellen Wong
Kieran Culkin
Anna Kendrick
Alison Pill
Mark Webber
Johnny Simmons
Chris Evans
Brandon Routh
Jason Schwartzman

Every now and then you watch a movie that just shouldn’t work, but absolutely does. Scott Pilgrim vs the World is one of those movies. On paper, it seems to have nothing going for it. It’s based on a graphic novel I’m apparently not cool enough to have ever heard of. The story feels ripped from the early days of fighter games, not exactly profound literature. There is going to be lots of action, but our hero, Scott Pilgrim, is played by Michael Cera, the wimpy whiny dude from Juno and a number of other teen focused flicks. Unconventional heroes are fine. After all, I loved Kick-Ass. This just seems to be too much of a stretch. A comic book movie with a video game plot? Or is that the other way around? Either way, I’m not exactly overwhelmed by anticipation as I press “play” on my remote.

An odd thing happens once the movie actually starts. It strikes a perfect tone and absolutely relishes in how ridiculous things are going to get. It knows its premise is dumb and that our hero is something less than our ideal of heroic. However, unlike Macgruber, which I recently had the displeasure of watching, in this film the script, sight gags and action scenes are actually very smart. Together, they take the last three decades of what was once strictly nerd culture, comics and video games, and morphs it into a clever, funny imagining of those two worlds colliding on the screen. It uses cartoonish, but still flesh and blood people full of the attitudes prevalent among those in their late teens and early twenties taken to absurdist extremes. There’s even some sly social commentary and an obvious moral. And all of it works.

That dumb premise? Scott Pilgram has an odd dream one night. The next day, he meets the girl from that dream, strangely enough. He falls head over heels for her that instant and hounds her until she goes out with him. Where does all the action come from? Shortly after starting to date Ramona (Winstead), the girl of his dreams, it is revealed that to continue seeing her, he will have to defeat each of her “7 evil exes”. These guys pop up out of nowhere and have all sorts of powers and fighting skills.

If you’re a fan of the original Super Mario Bros. and fighting games like Mortal Kombat, Street Fighter, Tekken, or any number of classic video games, you’re prepared to love this movie. The same goes if you’re a comic book fan as a number of scenes are made to look like panels from the hero mags. Then there’s the occasional narration that is spot-on. Finally, Cera’s usual self deprecating humor is perfect.

Here’s the thing: I get the sense this is a love it or hate it type of deal. People like me will sing its praises. Others will roll their eyes at all the madness, complain about how unrealistic it is, proclaim it moronic, and me a moron for liking it. It boils down to this: if you can’t understand the brilliance behind the “pee meter," you’ll never get this movie.