MUPPETS MOST WANTED Review

"The Muppets" was one of the best films of 2011, brimming with life, inspiration and a magical feel-good air that was infectious and impossible not to love. "Muppets Most Wanted" isn't that movie, but it seems to know that, too. The clever, tongue-in-cheek opening number about sequels never being as good as the original makes the movie still very hard not to like, but by the end you also can't hide the feeling they were absolutely right. The first one was lightning in a bottle, the reinvention of a franchise and this teeters on the brink of merely holding up and paling in comparison.

And it starts with the premise. The opening number teases the idea of stories to pursue, with Ricky Gervais' character jumping in to suggest a world tour for the newly reunited Muppets gang. Of course, Gervais plays a guy named Dominic Badguy who insists he's a good guy, wanting only the best for the Muppets' success. Not the case. He teams up with a Kermit look-a-like, Constantine, to use the Muppets as a cover-up for their mastermind burglary scheme. Constantine switches places with Kermit, who gets locked up in a Russian gulag run by Tina Fey. Oh no!

I guess without Jason Segel co-writing the script with Nicholas Stoller (James Bobin returns to write and direct, too), this international crime caper plot is what they landed on, and it runs out of steam -- and most notably, jokes -- rather quickly. It also feels a little dated and not to mention odd. Ty Burrell plays an Interpol investigator, who resembles Inspector Clouseau from "The Pink Panther." He's a hilarious hoot, donning a French accent, while Fey is downright adorable as the gulag guard who secretly pines for Kermit. It's Gervais who phones it in, and unfortunately, it's Gervais and Constantine who get the majority of the screen time during the film's first and second acts.

The ill-conceived idea to place the emphasis on the villains leaves the poor Muppets hanging on a limb with Kermit separated far, far away. Bringing the gang back together again (again!) feels great by the film's end, but it's a bit tiring getting there. The songs, from Bret McKenzie, are still fun but are more forgettable than anything the first "Muppets" churned out, especially one Oscar-nominated tune in particular.

The cameos are fast and frequent -- blink, and you'll miss one -- but they feel flung at the screen, as if testing to see if any of them stick, as opposed to the original's team of cameos, which felt more special and sincere, a collective team effort to revive something cherished and great. For example, Usher shows up as, you guessed it, an usher, but the minute he walks off-screen, I can imagine the hefty check just waiting for him on a silver platter.

But even amid all the complaints, it's still light and entertaining kids' fare that only disappoints if you read too much into it (like I just did). Besides, if you look at the entire Muppets canon, this sure isn't bad for a seventh sequel.

THIS IS 40 Review

Judd Apatow needs to learn to not be afraid of the editing room. Like his "Funny People," his latest personal project is a loose, meandering, messy and bit of an amorphous blob of a comedy. But it's also searing in its honest look at married life, dealing with parents, raising kids, getting older and maintaining a companionship that lasts. And if it takes his sloppy, imperfect style -- rolling, spontaneous, free-flowing improvisational riffs and scenes that sometimes are directionless -- to present us these truths he seeks, then so be it. It's worth it, and "This Is 40" is worth it. No other tighter Hollywood comedies today could squeeze so much out of its characters and show audiences what it's really like and take the risk of swapping out laughs for realness.

I was uncomfortable at first with how much a comedy was making me squirm. There are a lot of fights, a lot of arguments, and I thought to myself, "Well, this isn't very funny." But that's what makes Apatow brave as a filmmaker. He started back with 2007's "Knocked Up" re-envisioning what a comedy could do. He created his own sub-genre of comedy that was mimicked for years; that is until "Bridesmaids" set another new standard. And with this sort-of sequel to "Knocked Up," Apatow has done it again. He's given us a comedy that makes us look at the harsher realities of married life, of hitting that over-the-hill. It's not always pretty, that's for sure, with a lot of the gross-out comedy actually coming from droll everyday moments like having Pete (Paul Rudd) thrusting his legs in the air and wanting Debbie (Leslie Mann) to check for hemorrhoids.

Pete and Debbie we supporting characters, and we saw their marriage was less than perfect. Now, at the center, their marriage is dead in the water. They attempt to explain and negotiate to each other in therapy terms as their counseling has taught them, but they still sound like they want to kill each other. Pete's form of escape is hiding away in the bathroom sitting on the toilet to play Scrabble on his tablet. Debbie becomes obsessed with trying to make changes to the family dynamic: more healthy eating, and less Internet for the kids (played by Apatow and Mann's real life daughters, Maude and Iris get plenty of fun material to play with -- best is the older daughter's obsession with finding out how "Lost" ends).

While trying to be the best parents they can, Pete and Debbie have parent troubles of their own. Pete's dad, Larry (Albert Brooks), is too present in his life always asking for money to help support his younger wife and blonde triplet boys he can't tell apart. Brooks is a comedic cannon and scene-stealer in the fatherly role. Debbie's dad, Oliver (John Lithgow), is on the other end of the spectrum -- not present at all to the point of meeting his granddaughters for the first time. All of their drama comes to a head at a birthday bash where Apatow's loose narrative really packs its punch.

Aside from that, however, the crux of Pete and Debbie's issues stem from their financial problems. But they also live in the likes of Brentwood, Calif. which means they're actually still pretty well-off. It's hard to pity them when you're listening about Debbie's thrift store not breaking even as her hot employee played by Megan Fox might be stealing, or watching as Pete's record label flounders because he's signing has-been groups like Graham Parker (who plays a version of himself in the movie). Aside from the welcomed addition of "Girls" players Lena Dunham and Chris O'Dowd as employees of Pete's, this side of the movie -- which unfortunately takes up a large portion -- just feels like the grumbling of rich people problems.

The laughs are mostly hit-or-miss from all the movie's improvising, but one moment where Pete and Debbie get tangled in the politics of their daughters' school is an absolute knock-out from Melissa McCarthy. She plays a disgruntled mother, Catherine, who has an outrageous, mean-spirited, curse-filled tirade to why Pete and Debbie are horrible people; that is, however, after Debbie just got done unnecessarily yelling at Catherine's son in a moment of parental protection and vulnerability that perfectly captures Mann's character. She's the acting stand-out as a woman, wife and mother who's aggravating, kind, brash, sexy and insecure all in one, and she makes her Debbie breathable, living and oh so true.

THE MUPPETS Review

Whether you've been familiar with the Muppets for 40 years or just heard about them yesterday, it won't matter either way. If you want to laugh, be absolutely delighted and have the most carefree and cheerful fun you've had at the movies in recent memory, "The Muppets" is for you. Their last big-screen presence was 1999's "Muppets in Space," and it hardly feels relevant now to mention that considering this shining reunion of the international superstar puppet characters. The one question for Disney could be, well, why now? Why now after more than a decade would you bring back the Muppets for a reunion? Maybe it's a sign of the times. Maybe it's the perfect thing we all needed but never realized. I would say that is exactly right.

The movie opens outwardly acknowledging that the Muppets are no longer cool, and they haven't been part of what's cool in pop culture for a long time. It's in this wicked self-awareness where the film gains its modest warmth and cheeky attitude. With its nerdy out-of-it humor that is referential and self-deprecating combined with other moments that are quite hip and knowing, the Muppets strike a new chord -- one that will please fans both old and new. Consider for a moment a curse-free chicken version of Cee Lo Green's "F*** You." It's there, and it charms right in sync with the rest of the movie's bright and funny musical numbers.

So, the Muppets have been disbanded with their movies and TV shows all in the past. There's still a fan out there who misses them dearly, though, and his name is Walter. He is a little guy who happens to very, very closely resemble what some may consider a Muppet. But is he a Muppet? He sure has felt rather displaced as a person. His brother is a human, and his name is Gary (Jason Segel of "How I Met Your Mother"). As brothers they have been lifelong pals, and it poses a bit of a problem for Gary's girlfriend, Mary (Amy Adams in full-on whimsical "Enchanted" mode), who sometimes feel as if she can't get any alone time. Gary plans a trip to Hollywood with Mary for their anniversary and invites Walter along because one of the stops is to the old Muppets Studio.

They arrive at the studio, however, only to discover that it's been long abandoned and even tours are hardly running. Walter then stumbles across some devastating news. A cruel millionaire, Tex Richman (Chris Cooper having a blast as the meanie), wants to buy the Muppets Studio to tear it down and drill for oil. Walter, Gary and Mary decide they must do something to save the studio and the Muppet name. First comes finding Kermit the Frog who agrees to putting on one last show to raise money. Pulling the rest of the Muppets out of retirement proves no easy feat. The group cleverly travels "by map" as a red line crossing the Atlantic with their car emerging from the ocean on the shoreline of Cannes. France was a key destination because over the years Miss Piggy became the head editor at Vogue in Paris.

Goofy and sincere Muppet fan Jason Segel not only stars but also co-wrote the script directed by James Bobin ("Da Ali G Show," "Flight of the Conchords"). Segel's love for the Muppets is easy to see because nothing about bringing back this franchise feels opportunistic -- it's all from the heart. It's a colorful revitalization of the old troupe that is a labor of love, and such hope and wish-fulfillment oozes from the screen and creeps inside as you watch. You'll crack a smile from the opening scene, and it won't go away.

"The Muppets" is also bursting to the seams with cameos from big celebrities. The energy from everyone involved is joyous, positive and constantly sending out good vibes. The Muppets present a return to simplicity -- simpler, less cynical times when song and dance could bring people together, when all you needed was a hearty dose of "Mahnamahna" or for Kermit to break out the heartwarming "Rainbow Connection." And you feel it; you can feel the energy and the sense of collaboration on something feel-good and meaningful, something inspirational and more important than you might ever imagine from a gang of puppet characters. This is one of the best movies of the year.

BAD TEACHER Review

"Bad Teacher" (2011)

Sometimes it's fun to watch terrible people do terrible things. That's the core appeal of this next movie in a long string of R-rated comedies we've seen this summer. "Bad Teacher" stars Cameron Diaz in her most outrageous and raunchiest role in years. She plays Elizabeth, a seventh grade teacher who has no regard for the educational system. She shows her class movies like "Stand and Deliver" day after day while nursing hangovers at her desk and doesn't bother to learn any of her kids' names. How she landed a teaching position to begin with is beyond me. And just when she thinks she can leave it behind thanks to scheming off her rich fiancé, she gets dumped and has to return for another school year.

A charming and well-mannered substitute teacher with money, Scott (played by Diaz's ex Justin Timberlake), enters the picture and gives Elizabeth a new goal. She needs to raise 10 grand for a boob job so she can attract the new guy and get him to take care of her. Elizabeth is so absorbed with this task that she completely ignores the crudely playful and likable gym teacher, Russell (Jason Segel), who's an almost too obvious match from the start.

Elizabeth's foul and shallow way of life is created strictly from greed, and Diaz has a blast playing it up. It's hard to root for her and the cringe-worthy actions that come with, but we must -- just check your morality at the door and chuckle along. There are a handful of pretty good laughs, especially in the moments between Elizabeth and her doormat of a co-worker played by Phyllis Smith of "The Office" who casts aside under-her-breath mutterings of dry humor. It's only her and Segel performing in the realm of normalcy as every other character is a caricature, especially Timberlake embracing idiocy and proving to be a great comic actor. This also includes Elizabeth's competition, the prim and obnoxiously chipper Amy Squirrel (Lucy Punch), the centerpiece of the thin plot presenting a much lesser image of female rivalry than last month's "Bridesmaids."

There's not a lot for these actors to work with considering the screenplay from "The Office" alumni Gene Stupnitsky and Lee Eisenberg. It's a mish-mash of scenes without a lot of fluidity and hampered by its own potential of what it could've been in the hands of a more capable director (as opposed to Jake Kasdan of "Walk Hard: The Dewey Cox Story"). Think more Alexander Payne in the vein of "Election." Even so, the scenes -- like a collection of puzzle pieces that don't quite fit -- are fitfully amusing and crude.

Best of all, "Bad Teacher" cannot be scolded for trying too hard to push the envelope of raunchy à la this summer's "The Hangover Part II." The most you see of Diaz is during a scantily-clad and water-soaked car washing fundraiser scene. The movie's most outrageous and single best bit contains sex, yes, but no nudity whatsoever. Figure that one out. What's unforgivable, however, is the ending which tries to squeeze a happy ending out of a chronicle of despicable behavior.

A bad, bad decision indeed.

Archive: 'Forgetting Sarah Marshall'

Movie Review
Forgetting Sarah Marshall (2008)


Jason Segel certainly doesn't mind bearing it all for the sake of comedy. Fresh from the shower, he stands naked during an emotionally devastating and humiliating breakup. And there's his penis right at the very beginning of the movie. And then we see it again during a briefer scene near the end almost like a welcome return. Things come crashing down right before him as he stands nude, and then something new begins, while nude again. It brings a certain circularity to "Forgetting Sarah Marshall," the raucous comedy written by Jason Segel himself, and it also proves the universal hilarity of nakedness. It appears that Apatow has passed on the torch to his colleague Segel of "How I Met My Mother" and without fault. Segel has a wit in his writing and has a brand of humor that equals Apatow's, which allows this comedy to rank among the latest heavy-hitters "The 40-Year-Old Virgin," "Knocked Up," and "Superbad."

The girl is named Sarah Marshall (Kristen Bell), and she stars on an NBC show entitled "Crime Scene: Scene of the Crime," a CSI type show that mostly deals with masturbating killers. She stars opposite William Baldwin, who plays the tough guy who makes absurdly tasteless wisecracks about each grisly crime. It's a pitch-perfect hoot. Peter Bretter (Jason Segel) composes the ominous background music for the show, but he absolutely hates it. He's also composing a rock opera about Dracula looking for love, which is touchingly humorous and plays an integral part much later. I dare not give any more away. So, anyway, she breaks up with him. After 5 years of being together, Sarah is finally tired of using Peter as her personal handbag carrier at red carpet events and leaves him completely hanging. He's devastated, and has no idea what to do with himself. After drinking endlessly and participating in plenty of rebound sex, Peter consults his married step-brother ("SNL" player and "Superbad"'s Bill Hader) who advises him to take a trip away to clear his head.

Peter escapes to a Hawaiian island resort where his worst nightmare greets him. Sarah just so happens to be there with her new lanky British rock star boyfriend, Aldous Snow (Russell Brand), whose accent, cocky personality, and fan-blown, curly black hair will grind at you. Lucky for Peter, though, there's somebody on his side. Rachel Jenson (Mila Kunis of "That 70's Show") is a kind, laid-back, and caring hotel clerk at the front desk who lets Peter stay in a $6,000 per night suite for absolutely nothing. That is, until some celebrity who can actually afford it shows up. She's gorgeous, and she takes an interest in Peter's agony, always trying to cheer him up. They hang out a couple times, and we can already guess where it goes from there. The joy of this movie, however, isn't the destination but the getting there. The scenes at the resort, which make up the majority of the movie, are absolutely hilarious with frequent gut-busting laughs.

Jason Segel's body is that of a pale dinner role, and one really can't help but wonder how he gets the girls. His attractiveness is not in his drooping and doughy physique and his hanging posture and flatfooted walk, although those are all endearing characteristics; it's in the fact that he's just a pleasant guy who has the ability to fall apart every so often, and in doing so, he speaks from the male heart. He brings a level of humility amongst all of the movie's raunchy behavior, which is trademark to Apatow features. Behind it all, the humor is rooted in relatability and truth because, also like all other Apatow features, the movie has a heart full of warmth and forgiveness.

It's a tough task to balance so many characters at once, but "Forgetting Sarah Marshall" does it magnificently. There's a variety of male confusion represented in the supporting cast, who are all vital and do a great job. Bumping into each of these characters is like visiting an amusing acquaintance who you're always happy to see. Jonah Hill of "Superbad" plays a humorously cringe-inducing waiter at the resort who persistently sucks up to Aldous, wanting him to listen to his demo. And Paul Rudd of "Knocked Up" is priceless as a stoner surfer. And even the newcomers hold their own. Jack McBrayer of "30 Rock" is painfully awkward as a virgin honeymooner unsure on how to please his new wife. Bell pulls off the difficult task of creating sympathy behind a woman who's meant to be a stone-cold bitch, and Kunis, too, is adorable as the charming rebound girl. Even Brand as the despicable British rocker has ideal comic timing.

Judd Apatow and his team have concocted a new genre: the romantic comedy for guys. The fun of these movies comes from keeping true to the Apatow brand by mixing and matching different recognizable faces and sustaining that raunchy-tender balance, and even though it feels pretty familiar by now, it never fails in feeling fresh each time. Except that "Forgetting Sarah Marshall" is considered, rather than a romantic comedy, a romantic disaster movie. And so it is. We are watching one guy's journey through pain, making for the first truly great comedy of the year.