The flat, profane and largely unfunny “21 Jump Street” tries to be something new, updating the popular Johnny Depp 1980s drama series of the same name in comedic form. The plot concerns two immature, unskilled new policeman (Channing Tatum and Jonah Hill), who are assigned as uncover high school students to uncover a drug ring. They’re assigned due to their young looks but quickly realize they stick out like a sore thumb. Thin, rambling and badly edited, “21 Jump Street” has a handful of decent comedic moments strung together by some outdated, profane jokes that weren’t funny years ago (how many puberty jokes are there?); it starts out promising then goes downhill quickly. Hill and Tatum don’t have much chemistry (and aren’t that amusing) together, which is surprising given Hill comedic background. Written, co-produced and co-starring Hill, the film is a bit pointless and the characters are unfunny stereotypes, particularly Ice Cube as the Captain who literally (and annoyingly) screams all of his lines. Comedian Rob Riggle comes across best as a befuddled teacher; watch for cameos from original starts Holly Robinson Peete, Peter DeLouise and now superstar Depp himself. Mildly entertaining, “21 Jump Street” isn’t worth going down again.
Thursday, March 15, 2012
21 Jump Street - C
Rated R, 109 minutes
The flat, profane and largely unfunny “21 Jump Street” tries to be something new, updating the popular Johnny Depp 1980s drama series of the same name in comedic form. The plot concerns two immature, unskilled new policeman (Channing Tatum and Jonah Hill), who are assigned as uncover high school students to uncover a drug ring. They’re assigned due to their young looks but quickly realize they stick out like a sore thumb. Thin, rambling and badly edited, “21 Jump Street” has a handful of decent comedic moments strung together by some outdated, profane jokes that weren’t funny years ago (how many puberty jokes are there?); it starts out promising then goes downhill quickly. Hill and Tatum don’t have much chemistry (and aren’t that amusing) together, which is surprising given Hill comedic background. Written, co-produced and co-starring Hill, the film is a bit pointless and the characters are unfunny stereotypes, particularly Ice Cube as the Captain who literally (and annoyingly) screams all of his lines. Comedian Rob Riggle comes across best as a befuddled teacher; watch for cameos from original starts Holly Robinson Peete, Peter DeLouise and now superstar Depp himself. Mildly entertaining, “21 Jump Street” isn’t worth going down again.
The flat, profane and largely unfunny “21 Jump Street” tries to be something new, updating the popular Johnny Depp 1980s drama series of the same name in comedic form. The plot concerns two immature, unskilled new policeman (Channing Tatum and Jonah Hill), who are assigned as uncover high school students to uncover a drug ring. They’re assigned due to their young looks but quickly realize they stick out like a sore thumb. Thin, rambling and badly edited, “21 Jump Street” has a handful of decent comedic moments strung together by some outdated, profane jokes that weren’t funny years ago (how many puberty jokes are there?); it starts out promising then goes downhill quickly. Hill and Tatum don’t have much chemistry (and aren’t that amusing) together, which is surprising given Hill comedic background. Written, co-produced and co-starring Hill, the film is a bit pointless and the characters are unfunny stereotypes, particularly Ice Cube as the Captain who literally (and annoyingly) screams all of his lines. Comedian Rob Riggle comes across best as a befuddled teacher; watch for cameos from original starts Holly Robinson Peete, Peter DeLouise and now superstar Depp himself. Mildly entertaining, “21 Jump Street” isn’t worth going down again.
Jeff, Who Lives at Home - B
Rated R, 83 minutes
Unconventional and short but sweet, "Jeff, Who Lives at Home" should really be called "Jeff & Pat" given that it's really more about two brothers, Jeff ("How I Met Your Mother's" Jason Segel) and Pat ("The Office's" Ed Helms) struggling to find their way in life. Jeff is 30 years old, unemployed and lives in the basement of his mother's (Susan Sarandon) house while Pat is struggling with self-fulfillment and his marriage to the lovely Linda (Judy Greer), who may be having an affair. By chance the two meet up and find themselves on a mini-adventure trailing Linda but end up discovering what their real destiny is. "Jeff, Who Lives at Home" is a charming, fun and well-cast journey that tries to be more than what it is: a comedy about finding yourself. Sure, it's nothing new or revelatory, but Segel and Helms, known to many for their small screen roles, make for a wistful, entertaining comedic pair on the large screen too; they treat their characters with a sense of dignity while also having fun (a few amusing moments in a Porsche). It also helps that Mom, who has some self-discovery of her own going on, is played by the lovely Oscar-winner Sarandon. "Jeff" is an enjoyable, likable treat that strives for loftier ideals; when it tries to shift from the goofiness of the moment, it doesn't work as well, but as long as it stays grounded in the moment, it works just fine. "Jeff, Who Lives at Home" is directed and written by Jay and Mark Duplass (the brother team who made "Cyrus"), and is a charming, low-key film that deserves to find a good audience that will appreciate it. Also of note, watch for '80s star Rae Dawn Chong ("Quest for Fire" anyone?) in a strong supporting part as one of Mom's co-workers.
Unconventional and short but sweet, "Jeff, Who Lives at Home" should really be called "Jeff & Pat" given that it's really more about two brothers, Jeff ("How I Met Your Mother's" Jason Segel) and Pat ("The Office's" Ed Helms) struggling to find their way in life. Jeff is 30 years old, unemployed and lives in the basement of his mother's (Susan Sarandon) house while Pat is struggling with self-fulfillment and his marriage to the lovely Linda (Judy Greer), who may be having an affair. By chance the two meet up and find themselves on a mini-adventure trailing Linda but end up discovering what their real destiny is. "Jeff, Who Lives at Home" is a charming, fun and well-cast journey that tries to be more than what it is: a comedy about finding yourself. Sure, it's nothing new or revelatory, but Segel and Helms, known to many for their small screen roles, make for a wistful, entertaining comedic pair on the large screen too; they treat their characters with a sense of dignity while also having fun (a few amusing moments in a Porsche). It also helps that Mom, who has some self-discovery of her own going on, is played by the lovely Oscar-winner Sarandon. "Jeff" is an enjoyable, likable treat that strives for loftier ideals; when it tries to shift from the goofiness of the moment, it doesn't work as well, but as long as it stays grounded in the moment, it works just fine. "Jeff, Who Lives at Home" is directed and written by Jay and Mark Duplass (the brother team who made "Cyrus"), and is a charming, low-key film that deserves to find a good audience that will appreciate it. Also of note, watch for '80s star Rae Dawn Chong ("Quest for Fire" anyone?) in a strong supporting part as one of Mom's co-workers.
Casa de Mi Padre - B
Rated R, 84 minutes
If you like Will Ferrell's English-speaking comedies, you're likely to find his new Spanish-speaking comedy, "Casa de Mi Padre," muy bueno. A spoof of Spanish telenovelas, "Padre" is a risk given Ferrell's limited Spanish, but most of it's spot-on funny if you don't mind laughing and reading subtitles at the same time. Ferrell is a Mexican goofball named Armando Alvarez, a ranch hand on his rich father's big ranch. When the ranch runs runs into some difficulties, his suave but drug-dealing brother (Diego Luna) shows up with his beautiful young fiance (newcomer Genesis Rodriguez), whose family (including Gael Garcia Bernal) provides some challenges for Armando. Goofy and charming, "Casa de Mi Padre" should be a big hit for Ferrell and company, though the comedy may not be for everyone (I know some folks who still hate "Anchorman" to this day). It helps that "Padre" has Ferrell's goofball charm, an easy target in telenovelas (if you compare "Padre" to a real telenovela, there isn't much difference), and one of Ferrell's favorite "Saturday Night Live" writers, Matt Piedmont, directing the film. On the other hand, "Padre" is one big slice of cheesball that some may have difficulty digesting, not to mention that Ferrell's gringo-esque sounding but serviceable Spanish is a slight distraction, but then maybe that's the point. All in all, don't take "Casa de Mi Padre" very seriously and you'll be just fine..and the fake tiger (created by Jim Henson's company) nearly steals the show. Definitely worth it if you like this sort of thing and need a good laugh.
If you like Will Ferrell's English-speaking comedies, you're likely to find his new Spanish-speaking comedy, "Casa de Mi Padre," muy bueno. A spoof of Spanish telenovelas, "Padre" is a risk given Ferrell's limited Spanish, but most of it's spot-on funny if you don't mind laughing and reading subtitles at the same time. Ferrell is a Mexican goofball named Armando Alvarez, a ranch hand on his rich father's big ranch. When the ranch runs runs into some difficulties, his suave but drug-dealing brother (Diego Luna) shows up with his beautiful young fiance (newcomer Genesis Rodriguez), whose family (including Gael Garcia Bernal) provides some challenges for Armando. Goofy and charming, "Casa de Mi Padre" should be a big hit for Ferrell and company, though the comedy may not be for everyone (I know some folks who still hate "Anchorman" to this day). It helps that "Padre" has Ferrell's goofball charm, an easy target in telenovelas (if you compare "Padre" to a real telenovela, there isn't much difference), and one of Ferrell's favorite "Saturday Night Live" writers, Matt Piedmont, directing the film. On the other hand, "Padre" is one big slice of cheesball that some may have difficulty digesting, not to mention that Ferrell's gringo-esque sounding but serviceable Spanish is a slight distraction, but then maybe that's the point. All in all, don't take "Casa de Mi Padre" very seriously and you'll be just fine..and the fake tiger (created by Jim Henson's company) nearly steals the show. Definitely worth it if you like this sort of thing and need a good laugh.
Wednesday, March 14, 2012
Being Flynn - C
Rated R, 86 minutes
“Being Flynn” is a well-meaning, well-acted but uneven dramedy based on real-events. It stars Paul Dano and Academy Award-winner Robert DeNiro in the lead roles of a young aspiring writer who finally meets up with his estranged, homeless father after years apart. Directed by Paul Weitz (“American Pie” and “In Good Company” among others), it’s based on the experiences of writer Nick Flynn. Downbeat but earthy, the film’s mildly sarcastic tone is a little off-putting, and it’s hard to relate to many of the characters, and it’s largely misdirected by Weitz, better known for more mainstream comedies. DeNiro is the long lost father, and while his performance isn’t anything new or revealing (this could be a revisionist, less violent version of his “Taxi Driver” character), he and Dano share a handful of good scenes together. The underused, underwritten Julianne Moore lovingly appears in flashbacks as Flynn’s mother, and the real Flynn’s girlfriend, the vastly underrated Lili Taylor (always good) plays a co-worker here. “Being Flynn” is a mediocre attempt to show how two people who are related can be markedly different but alike at the same time. Much like an actor miscast in a role, “Being Flynn” shows what happens when the director isn’t well-suited to the material.
We Need to Talk About Kevin - B+
Rated R, 112 minutes
I will say upfront that “We Need to Talk About Kevin” isn’t for everyone. Based on the 2003 novel of the same name, it’s about Eva (Oscar winner Tilda Swinton, excellent), a mother coming to terms with the behavior her teenage son Kevin (Ezra Miller, creepy), who committed some grisly murders at a school. The low-budget “Kevin” focuses on the struggles she and her husband Franklin (John C O’Reilly) had in raising Kevin from the time he was born, and how he ultimately morphed into a murderer. “Kevin’s” strange, dark narrative is not an appealing one, but it’s vividly brought to life in an unconventional but remarkably real performance from Swinton, who was nominated for many awards for the role but somehow overlooked for an Oscar. She’s superb at showing the frailties of parenthood gone wrong from even before she had Kevin, not to mention the unusual ways she’s dealing with being a mother of a murderer; the doting mother she is not. The ending is also a memorable one as mother finally reaches out to son to offer her support, something she should’ve done years ago. “We Need to Talk About Kevin,” directed and written by British director Lynne Ramsay, is adept at showing what happens when the human condition is not nurtured. Worth a look especially for Swinton’s superb performance, which anchors the film nicely.
I will say upfront that “We Need to Talk About Kevin” isn’t for everyone. Based on the 2003 novel of the same name, it’s about Eva (Oscar winner Tilda Swinton, excellent), a mother coming to terms with the behavior her teenage son Kevin (Ezra Miller, creepy), who committed some grisly murders at a school. The low-budget “Kevin” focuses on the struggles she and her husband Franklin (John C O’Reilly) had in raising Kevin from the time he was born, and how he ultimately morphed into a murderer. “Kevin’s” strange, dark narrative is not an appealing one, but it’s vividly brought to life in an unconventional but remarkably real performance from Swinton, who was nominated for many awards for the role but somehow overlooked for an Oscar. She’s superb at showing the frailties of parenthood gone wrong from even before she had Kevin, not to mention the unusual ways she’s dealing with being a mother of a murderer; the doting mother she is not. The ending is also a memorable one as mother finally reaches out to son to offer her support, something she should’ve done years ago. “We Need to Talk About Kevin,” directed and written by British director Lynne Ramsay, is adept at showing what happens when the human condition is not nurtured. Worth a look especially for Swinton’s superb performance, which anchors the film nicely.
Thursday, March 8, 2012
Friends with Kids - B
Rated R, 107 minutes
"Friends with Kids" is the new relationship comedy that explores how you can have kids and then fall in love, in that order. Directed, written by and starring Jennifer Westfeldt ("Kissing Jessica Stein"), it's a charming, sweet yet predictable take on testing the usual conventions of child rearing and relationships. Westfeldt is Julie and Adam Scott (from "Parks and Recreation" perfectly cast here) is Jason, the last two of a group of New York friends who haven't married and started a family. Since their other friends (including "Bridesmaids" Kristen Wiig, Maya Rudolph and Chris O'Dowd, along with Westfeldt's real-life, long-time squeeze, Jon Hamm) are moving forward, Julie and Jason, seemingly platonic BFFs, decide to have and raise a child together but still date other people. But they realize in this unconventional set up there may be deeper feelings that either of them realized. A low-key, heartfelt dramedy, "Friends with Kids" plays a little like a revisionist "Friends" episode, with Westfeldt and Scott inhabiting the Ross-Rachel storyline; you know where it will end up in the end, but there are a handful of charming moments along the way. The biggest weakness with Westfeldt isn't her solid writing or directing, but that she is relatively untested as a lead actress; the wistful Rudolph or Wiig would've been better in the lead role. While she and Scott do exhibit some playful chemistry, Westfeldt lacks a deeper emotional focus to the carry "Friends with Kids" on her back. Overall, "Friends with Kids" is a decent rom com without any hidden messages other than think through having kids with a platonic friend. A solid, above-average effort and mildly entertaining date flick.
"Friends with Kids" is the new relationship comedy that explores how you can have kids and then fall in love, in that order. Directed, written by and starring Jennifer Westfeldt ("Kissing Jessica Stein"), it's a charming, sweet yet predictable take on testing the usual conventions of child rearing and relationships. Westfeldt is Julie and Adam Scott (from "Parks and Recreation" perfectly cast here) is Jason, the last two of a group of New York friends who haven't married and started a family. Since their other friends (including "Bridesmaids" Kristen Wiig, Maya Rudolph and Chris O'Dowd, along with Westfeldt's real-life, long-time squeeze, Jon Hamm) are moving forward, Julie and Jason, seemingly platonic BFFs, decide to have and raise a child together but still date other people. But they realize in this unconventional set up there may be deeper feelings that either of them realized. A low-key, heartfelt dramedy, "Friends with Kids" plays a little like a revisionist "Friends" episode, with Westfeldt and Scott inhabiting the Ross-Rachel storyline; you know where it will end up in the end, but there are a handful of charming moments along the way. The biggest weakness with Westfeldt isn't her solid writing or directing, but that she is relatively untested as a lead actress; the wistful Rudolph or Wiig would've been better in the lead role. While she and Scott do exhibit some playful chemistry, Westfeldt lacks a deeper emotional focus to the carry "Friends with Kids" on her back. Overall, "Friends with Kids" is a decent rom com without any hidden messages other than think through having kids with a platonic friend. A solid, above-average effort and mildly entertaining date flick.
John Carter - C
Rated PG-13, 132 minutes
“John Carter” is the mysterious new science-fiction action film from Disney and starring a relative unknown. Based on the Edgar Rice Burroughs story “A Princess of Mars” and directed by Andrew Stanton, the director of animated blockbusters “Finding Nemo” and “WALL-E,” “John Carter” is an expensive, modestly entertaining piece of junk. The film is about Confederate captain John Carter (“Friday Night Lights’” Taylor Kitsch), who is mysteriously transported to Mars (known as Barsoom here) where he becomes part of a conflict between various nations of the planets, including Tars Tarkas (Willem Dafoe) and Princess Dejah Thoris (Lynn Collins). Carter then takes it upon himself to save Barsoom and its people. Most of the plot “John Carter” borders on the ridiculous (Burroughs would shudder at this adaptation) and the handsome but bland Kitsch is called upon to carry what could be a tentpole movie on his back, which is the film’s biggest mistake, along with the miscasting of the older Collins as the young princess. Unsurprisingly, given Stanton’s cred as an animated film director, the action sequences and special effects are the highlight and where most of the film’s gigantic $250 million budget went to. “John Carter” isn't an awful film, but for the hefty price tag, the film should’ve been marketed considerably more focusing on its star Kitsch, who will have more opportunities this year to show what he’s worth (“Battleship” anyone?). “John Carter” is an average action film that will have difficulty finding a wide audience…in other words, it’s a disappointment considering all that went into it.
“John Carter” is the mysterious new science-fiction action film from Disney and starring a relative unknown. Based on the Edgar Rice Burroughs story “A Princess of Mars” and directed by Andrew Stanton, the director of animated blockbusters “Finding Nemo” and “WALL-E,” “John Carter” is an expensive, modestly entertaining piece of junk. The film is about Confederate captain John Carter (“Friday Night Lights’” Taylor Kitsch), who is mysteriously transported to Mars (known as Barsoom here) where he becomes part of a conflict between various nations of the planets, including Tars Tarkas (Willem Dafoe) and Princess Dejah Thoris (Lynn Collins). Carter then takes it upon himself to save Barsoom and its people. Most of the plot “John Carter” borders on the ridiculous (Burroughs would shudder at this adaptation) and the handsome but bland Kitsch is called upon to carry what could be a tentpole movie on his back, which is the film’s biggest mistake, along with the miscasting of the older Collins as the young princess. Unsurprisingly, given Stanton’s cred as an animated film director, the action sequences and special effects are the highlight and where most of the film’s gigantic $250 million budget went to. “John Carter” isn't an awful film, but for the hefty price tag, the film should’ve been marketed considerably more focusing on its star Kitsch, who will have more opportunities this year to show what he’s worth (“Battleship” anyone?). “John Carter” is an average action film that will have difficulty finding a wide audience…in other words, it’s a disappointment considering all that went into it.
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