This Is 40: Short and Sweet

From the perspective of the comedy genre, there is no other filmmaker in Hollywood that represents guaranteed critical and commercial success like Judd Apatow; and despite a few missteps, most projects fortunate enough to share his influence turn into comedic gold.   And after so many standalone hits, fans had to be excited when it was first announced that some of Apatow’s beloved characters would be revisited in a “sort-of” sequel.  With its surprisingly weighted blend of drama and humor, audiences responded very well to 2007’s Knocked Up, and even though they only represented a supporting subplot, Paul Rudd and Leslie Mann stepped forward as undeniable scene-stealers, thereby sending expectations into the upper atmosphere for This Is 40.  Playing for moviegoer attention during the coveted yet crowded Christmas Holiday release schedule, Universal Pictures made sure that the tremendous star power of their upcoming release was emphasized in promotions, and with other heavyweights like Jason Segel, Chris O’Dowd, and Melissa McCarthy, Apatow’s newest comedy was virtually guaranteed success.  As a hardcore fan of both Paul Rudd and Leslie Mann, I could not wait for This Is 40, and by all early appearances, it certainly didn’t look like I would be disappointed.

Clever, charming, poignant, and utterly hysterical, This Is 40 is not only one of Judd Apatow’s best films, but is also one of the funniest comedies to hit theaters in years.  Leslie Mann and Paul Rudd are absolutely brilliant together, adding depth to a troubled relationship while also keeping humor levels high with stinging one-liners and unrelenting cynicism.  As for the supporting cast, the film fires on all cylinders, whether that involves Albert Brooks as the mooching parent, Melissa McCarthy as the confrontational schoolyard mother from hell, or the surprisingly entertaining Megan Fox as the hard-partying employee…every single one will have you rolling in the theater, and I will gladly return to the theater a second time solely to memorize more quotes.  To be fair, there are some definitive moments when the energy of the narrative completely stalls, and a few of the smaller subplots are left somewhat unresolved, but the consistent laughs easily make those weaknesses forgivable.  If you are looking for some raunchy humor to keep a perpetual smile on your face throughout the Holiday Season, look no farther than This Is 40, and enjoy the edgy yet heartfelt take on a period of life that we will all face.

Overall Recommendation: Very High

This Is 40: Full Review

This Is 40 - (December 21, 2012): R

Distributor: Universal Pictures
      
Opening Weekend Box Office: #3 with $11,579,175

Domestic Box Office Gross to-date: $23,930,290

Gross Revenue: $23,930,290

Production Budget: $35 million

Director: Judd Apatow
 
Though there is no shortage of talented comedy actresses in Hollywood, few would dispute crowning Leslie Mann as the reigning queen of comedy films, and after the success of her collaborations with husband Judd Apatow, including Knocked Up and Funny People, upcoming holiday release This Is 40 promised some big laughs.  Mann’s onscreen relationship with Paul Rudd was one of the most memorable components of Knocked Up, so a return to that dynamic was certainly going to resonate with fans, while the mid-life crisis angle of the narrative was sure to draw the attention of some mature demographics.  With competing releases like The Hobbit, Jack Reacher, Les Misérables, and Django Unchained, a beefy box office receipt was a bit of a tall order for Judd Apatow’s newest comedy, but a wide array of star power was sure to draw some attention.  Personally, I was rather confused by the inclusion of Megan Fox; the young actress certainly hasn’t proven a deep acting talent in the past, and with so many comedy heavyweights in this cast, there was no way she was going to be able to get away with simply functioning as eye candy…she was definitely going to have to step up.  As the only true comedy currently inhabiting theaters, there was undoubtedly going to be an audience for This Is 40, which certainly had the potential to meet and exceed expectations, all while hopefully delivering some of the biggest laughs of the year.

Set five years after the events of Knocked Up, This Is 40 finds combative couple Pete (Paul Rudd) and Debbie (Leslie Mann) on the eve of their shared 40^th-birthday week, with Debbie especially lamenting the upcoming milestone amidst the pressure of both their lives.  Despite the continuous encouragement of her personal trainer, Jason (Jason Segel), Debbie fears a waning level of desirability, all while struggling to repair a relationship with her absentee father, Oliver (John Lithgow), and locate missing funds from her boutique with the help of employees Jodi (Charlyne Yi) and Desi (Megan Fox).  Pete is also struggling, as his independent record label is failing, his employees Cat (Lena Dunham) and Ronnie (Chris O’Dowd) are virtually useless, and his mooching father, Larry (Albert Brooks), continually uses guilt to borrow money.  Add to the equation the adolescent problems of their two daughters, Charlotte and Sadie (Iris and Maude Apatow), the latter of whom is feuding with a boy from school and drawing the ire of a confrontational soccer mom, Catherine (Melissa McCarthy), and the couple is drawing dangerously close to a breaking-point.  Stressful environment aside, Pete and Debbie must find a way to move past their problems, rediscover the passion of their relationship, and prepare to embark on the next stage of their lives together.

To call This Is 40 “funny” is a dramatic understatement, because between the dialogue, characters, and acting, this clever narrative hits all marks and delivers non-stop laughs that outperform nearly every comedy film that has hit theaters in the past decade.  Leslie Mann and Paul Rudd each have their shining moments individually, but together the two have a truly impressive comedic chemistry, thereby adding reality to their relationship while also paving the way for some unbelievably hysterical scenarios.  And in terms of the supporting cast, every big name pulls their own weight and adds another enjoyable dimension to the film (the feud between Jason Segel and Chris O’Dowd was a riot), but the two standout performances belong to Melissa McCarthy and Megan Fox.  While it is no surprise that McCarthy ad-libbed some of the best lines throughout the film, I was absolutely shocked by the comedic timing showcased by Fox, especially when I stopped to consider the caliber of the  humorous thespians that surrounded her environment.  In the end, unless you are completely devoid of a sense of humor, you will find big laughs within This Is 40, the rare type of comedy that demands multiple viewings so you can catch and memorize all the stinging one-liners.

Because I enjoyed This Is 40 so much, I was pretty disappointed in the lukewarm critical reception, and though I can see validity in a few of the criticisms, I still believe that the film has received a bum rap that refuses to acknowledge some of the subtle brilliance that ultimately manifests.  At well over two hours, a level of personal fortitude is required for this comedy, and it certainly doesn’t help that narrative momentum stalls at a few notable points, especially when weighed against the numerous subplots that add to the chaotic tone.  For other critics, the multiple storylines were distracting and largely unresolved, but I found their presence a perfect illustration of the sometimes overbearing responsibilities that characterize this period of life, and because of that, this film carries a heavier reality and emotional weight than some of its counterparts.  And in between all the laughs, you will find some way to relate to the characters of Pete and Debbie and develop a personal stake in their plight; you feel their anger and despair, pick sides during their arguments, are happy to see them relax, and end up truly calmed by their heartwarming reconciliation.  So yes, there is a certain temporal cost and patience requirement to experiencing the full story told by This Is 40, but rest assured that you will be rewarded with memorable scenes, lovable characters, and near-non-stop hysterics.

Like I mentioned earlier in this review, in the wake of such heavy box office competition, it was unrealistic to expect an R-rated comedy to take the top spot, so a third place opening of just under $12 million is a pretty acceptable performance.  The ironic thing is that even though a case can be made for This Is 40 being Judd Apatow’s best movie, the clever comedy still represents the lowest opening for any of his directorial credits; I can only hope that unfortunate distinction doesn’t taint the film’s overall reputation.  When weighed against the modest production budget of $35 million, Universal shouldn’t worry about recovering its costs, especially when I expect positive word of mouth to help outshine the largely unfair mixed reviews.  Thankfully, a true comedic competitor is nowhere on the upcoming release horizon (trust me when I say that Parental Guidance doesn’t count), so the overall theatrical run for This Is 40 should be impressive.  To put it simply, I cannot emphasize enough just how much you will enjoy This Is 40, and I eagerly await the next project that will feature either Paul Rudd or Leslie Mann.

Overall Recommendation: Very High    

The Hobbit: An Unexpected Journey - Short and Sweet

Given both the critical and financial success of The Lord of the Rings film trilogy, it was only a matter of time before Warner Bros. decided to adapt J.R.R. Tolkien’s prequel tale, and fans of Middle-earth were ecstatic when it was announced that Peter Jackson would be tackling the project.  Having read The Hobbit over a decade ago, I knew that I wouldn’t have as much of an emotional investment in this literary adaption (as compared to Harry Potter or The Hunger Games), but I was nevertheless excited for An Unexpected Journey.  And while it was clear that this newest blockbuster would offer a far subtler fantasy epic than the action-packed trilogy we all loved back at the turn of the century, it was a nice touch that several actors would be returning to their original roles to maintain the continuity of the shared universe…I’m sure there would have been riots had Ian McKellan not decided to return as Gandalf.  Another interesting production development involved the fact that Peter Jackson had decided to film using a 48 fps 3D format, a high frame-rate that would give the image a distinct high-definition treatment and potentially signal a new norm for Hollywood.  With all these factors combined, it was clear that the first chapter in The Hobbit saga was going to represent a true holiday juggernaut, one that no other studio dare challenge and one that was sure to set some coveted records.

As a reintroduction to Middle-earth and the realization of a beloved tale, An Unexpected Journey is yet another in Peter Jackson’s long list of cinematic achievements, but a number of factors prevents this release from achieving the status of runaway hit that was earned by its predecessors.  On the plus side, Martin Freeman and Richard Armitage are both engaging and thoroughly enjoyable as Bilbo Baggins and Thorin Oakenshield, respectively, and once again, Andy Serkis absolutely steals the show as the tortured soul, Gollum.  Invariably though, fans will compare The Hobbit to the original LOTR trilogy, and beyond the returning familiar faces, that is where problems develop, whether that involves the slower pacing that can make the near-three-hour epic boring from time to time, or the noticeable lack of character development in some of the supporting cast.  Now, I probably have a lower opinion of the film because I saw it in IMAX 3D and ended-up absolutely detested the 48 fps format, which I found not only nauseating and distracting, but also instrumental in shattering the sense of immersion that I usually find at the theater…I can only pray that this format does not take-off.  Don’t get me wrong, I did enjoy An Unexpected Journey, found the last hour of the film brilliant, and will gladly see the next two chapters, but I was still expecting more and therefore cannot award my highest recommendation.

Overall Recommendation: Medium

The Hobbit: An Unexpected Journey - Full Review

The Hobbit: An Unexpected Journey - (December 14, 2012): PG-13

Distributor: Warner Bros. Pictures

                                      

Opening Weekend Box Office: #1 with $84,617,303

Domestic Box Office Gross to-date: $92,355,596

Gross Revenue: $230,555,596

Production Budget: N/A

Director: Peter Jackson

 
J.R.R. Tolkien fans the world over rejoiced when it was first announced that The Hobbit would be adapted into a prequel series, but Peter Jackson’s newest passion project wasn’t without a few setbacks, the most widely-known involving production delays caused by actor’s unions in New Zealand.  But after some savvy negotiations, the cameras were allowed to roll and Jackson was ready to film his multi-part epic back-to-back, returning several familiar faces to Middle-earth and testing a potentially revolutionary filmmaking format.  Based on the success of his previous fantasy epic film trilogy, there were no doubts that Lord of the Rings’ fans would return to theaters in droves, but Warner Bros. Pictures still executed strong marketing tactics to ensure that a new generation could appreciate an introduction to the Shire.  A fully-interactive website, dozens of contests, character posters, and even special menu items at Denny’s all kept buzz for this December release through the roof, and analyst all around Hollywood were predicting a record-breaking debut.  However, certain expectations had to be reigned-in, as there was going to be a noticeably tamer level of action this time around, and early critical reaction wasn’t exactly soaring; still, qualifications aside, I was still ecstatic to have my opening day, IMAX 3D ticket for An Unexpected Journey.

Set 60 years prior to the opening events of The Fellowship of The Ring, An Unexpected Journey finds young Hobbit Bilbo Baggins (Martin Freeman) crossing paths with the infamous wizard Gandalf the Grey (Ian McKellen), who tricks the Halfling into hosting a dinner party for a ragtag group of Dwarves.  Soon enough, the group’s agenda is revealed by their leader, Thorin Oakenshield (Richard Armitage); with Gandalf’s help, the company of Dwarves intends to travel to the Lonely Mountain and reclaim a lost treasure that was taken years ago by the dangerous dragon, Smaug.  The Dwarves intend to recruit the Hobbit as a “burglar” in their journey, and though Bilbo is initially reluctant, the thrill of a potential adventure proves too enticing, and soon enough, he departs the Shire for the dangerous quest.  Though they are aided by allies like Elrond (Hugo Weaving), Galadriel (Cate Blanchett), and Saruman the White (Christopher Lee), the company must also contend with trolls, orcs, goblins, not to mention a mysterious creature that confronts Bilbo, carries a golden ring, and can only identify itself as Gollum (Andy Serkis).  As the true scope of their objective is revealed, Bilbo is forced to discover a level of bravery he never knew he possessed, a tool that will come in handy as the frightful dragon Smaug begins to awaken.

In terms of gorgeous landscapes, a fantastical story, and a sweeping score, An Unexpected Journey is a glorious return to Peter Jackson’s Middle-earth, but where The Hobbit really excels is in the performances of its main characters and the energy that pervades the narrative’s latter half.  Richard Armitage is surprisingly entertaining as Thorin, but as the lead protagonist, Martin Freeman delivers in the role of Bilbo, blending a mix of humor and internal conflict that makes him a far more interesting Hobbit to watch than Frodo was nearly a decade ago.  And speaking of Frodo, it was a welcome surprise to see Elijah Wood return in a cameo, along with so many other familiar faces from the original trilogy that help reinforce the shared universe between prequel and sequel, but no other character was more enjoyable to revisit than Gollum.  I may not remember some of the finer details of the original novel, but I cannot forget how much I enjoyed the “Riddles in the Dark” chapter, and An Unexpected Journey interprets this sequence brilliantly, focusing on Andy Serkis’ performance, adding new depth to an already complicated character, and providing a true treat for audiences.  Unfortunately, beyond the enjoyment of the core characters, the film still has some pretty glaring weaknesses that could not be overshadowed, even once the balance of momentum was achieved in the running time’s final hour.

In its entirety, I did enjoy The Hobbit: An Unexpected Journey, but given all of the hype surrounding the project, I was still disappointed in the overall lack of supporting character development, the noticeably uneven pacing, and the thoroughly distracting filming format.  Granted, it is one hell of a tall order to flesh out 13 Dwarves, but the film makes little effort to distinguish or let alone identify half of the characters; Fellowship of the Ring had nine main characters, and the audience loved every one of them, but at least a third of The Hobbit’s characters don’t even have distinguishable lines…how exactly are we supposed to get excited for their return in future installments?  And, I may have praised the exciting climax and conclusion to the film, but make no mistake, at nearly three hours with only a small fraction of the battles that helped define the franchise, things get slow, and things get boring.  Finally there’s the camerawork;  I understand that the 48 fps format isn’t required viewing, but for as much buzz as surrounded its usage, I absolutely hated the high-definition picture, which not only shattered the usual illusion of immersion, but also provided a picture so clear that action sequences were nauseating, while special effects and makeup looked both fake and low-budget.  So, even though none of the above-mentioned shortcomings are overly damning, I can only hope that they don’t reappear in the next two instillations of the planned trilogy.

As expected, An Unexpected Journey hit the box office like an absolute sledgehammer, earning $84.6 in its opening weekend, capturing the record for December opening but still falling short of the $100 million expectation that was predicted.  Add that impressive haul to the substantial foreign earnings and the expected large audiences of the Christmas and New Year’s holidays, and The Hobbit will have absolutely no trouble in setting even more financial records.  Now usually, at this point in the review, I compare earnings to production budget, but because The Hobbit trilogy is being filmed back-to-back, a total receipt has not yet become available, but no one at Warner Bros. has to worry about turning a profit.  With The Desolation of Smaug and There and Back Again hitting theaters in 2013 and 2014 respectively, we will be seeing plenty of Bilbo Baggins in the coming years, and by-and-large, it should be a rewarding experience, but I damn well sure won’t be seeing the next chapters in 48 fps.  In conclusion, even though I wasn’t overtly thrilled by The Hobbit, I can acknowledge that fans of Peter Jackson owe it to themselves to visit the theater, as long as their expectations don’t get too high.  

Overall Recommendation: Medium

Rise of the Guardians: Short and Sweet

Well, after all my work on this blog, I was finally going to be able to write a review for a film that I worked on directly, and it looked like Rise of the Guardians would help DreamWorks Animation dominate the Holiday Movie Season.  Reimagining beloved childhood mythologies as action-packed superheroes seemed to guarantee future success, especially when critics started labeling the film as “Avengers for kids.”  Based on what I had seen of Guardians during its development, I knew that audiences would be thrilled, but I was a little concerned over the perceived lack of marketing efforts, especially in relation to the identification of the all-star cast.  However, most of my doubts were put to rest in the short weeks leading up to the Thanksgiving weekend, as the level of previews, promotions, and posters went through the roof; but, would that be enough to stand-up against juggernauts like Breaking Dawn, Part 2?   Prepared for an early viewing, I knew I would not be disappointed; I was just looking for confirmation of a profitable box office run, one in which I now shared a far more personal stake than ever before.

Wonderfully imaginative, beautifully rendered, and reintroducing a sense of wonder that most audiences lost long ago, Rise of the Guardians is the perfect kind of movie to thrill children, charm adults, and put absolutely everyone in the holiday spirit.  As far as animated characters go, Santa Claus, Easter Bunny, Tooth Fairy, Jack Frost, and Sandman, are all engaging and offer truly creative modifications of legendary folklore, but the true standouts are Santa’s yetis and elves, both of whom are utterly hysterical and help balance the surprising levels of emotion with considerable humor.  And, if you are looking for utterly gorgeous animation, you don’t have to look much farther than the wonderfully detailed environments that play home to our heroes, not to mention the fast-paced action sequences that make capable use of 3D technology.  Unfortunately, a few warnings have to be levied, as the pacing of the story does lull at a few points, and the villainous Boogeyman can be terrifying for small children.  In the end though, if you can look past those small missteps, Rise of the Guardians still remains entertaining and rewarding for both children and anyone who once believed in the fables of our childhood.

Overall Recommendation: High

Rise of the Guardians: Full Review

Rise of the Guardians - (November 21st, 2012): PG

Distributor: Paramount Pictures (DreamWorks)

                                      

Opening Weekend Box Office: #4 with $23,773,465

Domestic Box Office Gross to-date: $48,836,105

Gross Revenue: $105,836,105

Production Budget: $145 million

Director: Peter Ramsey

 
With such strong franchises like Madagascar, Shrek, How to Train Your Dragon, and Kung Fu Panda under its belt, DreamWorks Animation has had no problem in establishing itself as a reliable and powerhouse studio, and after the recent revelation of the upcoming release slate through 2016, it is clear that Jeffrey Katzenberg has absolutely no intention of shying away from offbeat entities, all in an effort to maintain a high level of momentum.  In addition to being the last release of the studio’s current distribution deal with Paramount, Rise of the Guardians also represented the first in a line of new releases that would validate whether DreamWorks could safely move beyond its established entities for an extended period of time (How to Train Your Dragon 2 will not be released until June 2014), and by all accounts, this holiday film seemed more than primed to meet the challenge.  Based on William Joyce’s “The Guardians of Childhood” book series, this newest fantasy-adventure would see Chris Pine, Alec Baldwin, Hugh Jackman, Isla Fisher, and Jude Law embody globally-recognized childhood fables, and even though marketing efforts did not focus on the famous cast, McDonald’s Happy Meals, heavy trailer frequency, a fully-interactive website, and attention-grabbing print promotions kept buzz levels high.  Still though, there were a few potentially problematic elements to Rise of the Guardians that could raise some red flags with parents: first off, in focusing on so many mythologies, the narrative ran the risk of young audience members questioning the existence of their beloved legends; and second, as the villain, The Boogeyman could be genuinely scary for small children, thereby venturing the project into a more adult territory than desired.  At their worse though, those concerns were little more than mild worries, as Rise of the Guardians still represented a highly-energetic and creative project that would help parents fill the hours of the upcoming holiday school vacations and get absolutely everyone in the holiday spirit.

Rise of the Guardians opens by introducing audiences to Jack Frost (Chris Pine), the mischievous spirit of winter who enjoys his work but regrets the fact that he remains invisible to and isolated from children because they do not believe in him.  Meanwhile, at the North Pole, North/Santa Claus (Alec Baldwin) is alerted to the return of Pitch/The Boogeyman (Jude Law), a vengeful entity intent on spreading fear and nightmares to children, thereby destroying their innocence and belief in fables, and subsequently erasing the legendary Guardians from existence.  Summoning Tooth/The Tooth Fairy (Isla Fisher), Bunnymund/The Easter Bunny (Hugh Jackman), and Sandy/The Sandman, North works with his elves and yetis to also recruit Jack Frost and prepare a plan with his team in order to stop Pitch.  Unfortunately, Pitch strikes first and interrupts both the collection of lost baby teeth and the delivery of colored eggs, thereby leaving disappointed children questioning the existence of the Guardians and robbing our heroes of their powers.  Jack Frost seems to have the necessary power to stop Pitch, but he is distracted by his own curiosity concerning his past and current meaning, a fact which Pitch begins to manipulate to his advantage as children around the world succumb to fear, save for a precocious child named Jamie (Dakota Goyo).  Facing seemingly insurmountable odds, Jack Frost must find a way to regain his focus, and the Guardians must stop Pitch before all children stop believing in wonder and lose hope entirely.

If ever in your childhood you hid a tooth under your pillow or left cookies and milk by the fireplace on Christmas Eve, then you will absolutely adore Rise of the Guardians and the unique take it provides on childhood heroes, all of which is brought to life with gorgeous animation, clever humor, and a surprisingly heartfelt story.  As far as lead characters go, Jack Frost is surprisingly engaging and a true crowd-pleaser, and his reaction to the world to which he is introduced will mirror the audience’s own astonishment at the beautifully-rendered environments that showcase cutting-edge animation technology.  The banter between the Guardians and the subtle references to each of the character’s long-established mythologies is more than enough to keep your attention drawn and reawaken a childhood sense of wonder, but perhaps the best part of the film involves the considerable laughs provided.  Just like the Minions from Despicable Me, Santa’s elves and yetis are the runaway stars of Rise of the Guardians, speaking in gibberish and keeping a perpetual smile on your face…make sure and stick around for their hysterical post-credits scene.  However, for as much as I enjoyed DreamWorks’ newest project, I can acknowledge a few hiccups along the way, but they are not enough to irreparably damage overall quality.

In terms of the overall story, pacing does get a little stale and a few plot points are overly formulaic, and I can definitely see some of the more mature elements acting as a turn-off for young children, but in the end, Rise of the Guardians still represents one of the deepest and most emotional films tackled by DreamWorks Animation in some time.  When you finally strip away the novelty and wonder associated with the mythical characters and focus solely on the finer elements of the story, a few too many plot developments are familiar and serve to actually stall momentum…the narrative eventually recovers, but the disparity is noticeable.  And, like I hinted at earlier in the “Short and Sweet” review, I can see Pitch being too scary for small children; don’t get me wrong, Jude Law delivers one of the best voice acting performances, but parents may want to exercise a little caution before bringing toddlers to the theater.  Looking past these small shortcomings though, I still have to appreciate the level of emotion conveyed by Rise of the Guardians; you grow to genuinely care about the characters, and a few of the more heartstring-tugging elements of whimsy will bring older audiences back to their childhoods and likely generate a few tears…that kind of depth hasn’t been seen from this studio since 2010’s How to Train Your Dragon.  So, even though this newest animated adventure may not be perfect, it is still entertaining and acts as a fun and perfect addition to the Holiday Movie Season for audiences of all ages.

I may have expressed concern over Rise of the Guardians going up against holdovers like Breaking Dawn, Part 2 and Skyfall so early in their respective theatrical runs, but in no way could I have seen a paltry fourth place opening of  only $23 million coming.  That is the worst opening for a DreamWorks Animation property since 2006’s Flushed Away, and in no way does that standing reflect the high quality of the project…the only saving grace that can come now when facing a $145 million budget is if the film remains a respectable presence through the Christmas and New Year’s holidays.  While I would love to blame the soft opening on the shopping focus of the Thanksgiving weekend, The Muppets had a far stronger performance this same time last year; perhaps marketing efforts would have benefitted from leveraging the famous names associated with the project a bit more.  Who knows, maybe this disappointing financial standing represents the appropriate ending to the distribution deal with Paramount, and The Croods will enjoy a much stronger debut under the guidance of Fox come March.  At the very least, despite my admitted bias towards the financial success of this project, I am still urging everyone to I know to give Rise of the Guardians a chance, because I guarantee that they will not leave the theater disappointed.

Overall Recommendation: High