THE WAY, WAY BACK Review

Co-writer/directors Jim Rash and Nat Faxon have delivered a simple summer pleasure and perfect alternative fare for the season with their "The Way, Way Back," a less major work than their co-written Oscar-winning "The Descendants" under the direction of Alexander Payne. The movie is like a mix of the coming-of-age turmoil found in "The Perks of Being a Wallflower" and the eclectic environment of "Adventureland" and is pegged as a comedy hailing from the team behind "Little Miss Sunshine." The lighthearted comedy, which is more pleasant and delightful than laugh-out-loud funny, is kept from being too frivolous by actually daring to break your heart bringing up honest truths about teenage angst and adolescence caught adrift in a family torn apart. It's drama that fittingly plays out like the beating, rushing currents of a wave pool.

Fourteen-year-old Duncan (Liam James) goes with his mom, Pam (Toni Collette), and new stepdad, Trent (Steve Carell), to a breezy beach house to spend the summer. While it may seem like a calming getaway, that's not the case for Duncan who's at battle with Trent whose oppressing attempt to remold a new family comes off as condescending and downright mean-spirited. Upon first arriving to the summer getaway, we're introduced to Allison Janney's boozy Betty, a whirlwind of a woman who's playful, sexual energy lights up the screen. She also comes with her daughter, Susanna (AnnaSophia Robb), who looks as miserable to be there as Duncan.

While Duncan's parents laze around wining and dining with fellow vacationing couple, Kip (Rob Corddry) and Joan (Amanda Peet), Duncan takes refuge at the nearby waterpark, Water Wizz, where he meets an eclectic cast of characters (Nat Faxon, Jim Rash and Maya Rudolph are among them) lead by the ringleader of the bunch, Owen, played effortlessly by Sam Rockwell. The actor has always been a commanding talent, wrapping his characters in personalities full of wonderful, endearing oddities. His Owen, a stand-in father figure and role model for Duncan, is no different. He shines and brings newcomer Liam James' character right out of his shell.

Also notable here is Carell playing perhaps for the first time a realistically unlikable character. He's unbeknownst to himself completely selfish and controlling. His relationship with new girlfriend Pam is like high school love and this summer vacation like a spring break for adults. After coasting along amiably, there's a moment in the film's third act that strikes a chord and might even put a lump in your throat as tensions come to a head and the reality of a newly forced family situation emerges. It raises the film's screenplay above some otherwise trite and non-organic moments sprinkled throughout.

HOPE SPRINGS Review

For those craving a departure from the usual summer movie fare, "Hope Springs" is a pretty good alternative. And for those wanting to see Meryl Streep's first role in which she acknowledges herself as a perfectly average older woman, this is it. Even in another romantic comedy, "It's Complicated," she had a youthful bounce. This is Streep's "The Bucket List," the one where Jack Nicholson and Morgan Freeman officially stamped themselves as senior citizen actors in 2007. Have no fear, however, as this is no "Bucket List." From director David Frankel ("The Devil Wears Prada"), Streep shines alongside fictional spouse Tommy Lee Jones in this realistic and touching look at a marriage stuck under the weight of time and without any spark left.

Within the confines of potentially stuffy material, Streep breathes life into Kay, a woman who too long ago became complacent in her 31-year marriage. She stopped seeking attention from her husband, Arnold (Tommy Lee Jones), who otherwise has become preoccupied with his job, meals and the golf channel. All intimacy is absent, as well, with them no longer kissing, touching or hugging, and even sleeping in separate beds in separate rooms. Their life has become an unchanging routine, and the movie begins right as Kay realizes she desperately wants change.

Kay signs them up for intensive couples counseling in the quaint, postcard-ready town of Great Hope Springs, Maine with marriage expert Dr. Feld (Steve Carrell). Rather than suggesting the idea to Arnold, Kay tells him she bought plane tickets and hopes he will board the flight with her. Of course Arnold doesn't take kindly to this idea. Not realizing there's anything that needs fixing, he figures why disrupt the peace. Huffing and scowling all the way, he reluctantly agrees to go. Tommy Lee Jones is really the one to watch here as he presents Arnold as a stubborn and angry man, giving a performance we never knew he could. While stern, he also shows vulnerability slowly revealing more layers to Arnold's stonewall exterior.

Majority of the running time is spent inside Dr. Feld's office where Steve Carrell plays the compassionate counselor perfectly straight, no trace of comedy. With Carrell providing zero of the movie's humor (which stems from Streep and Jones only), he does two things. He gives Kay and Arnold the platform to sort through their issues for not only them but the audience, as well. With them both so visibly uncomfortable talking about their sex life, we begin to see how their marriage slumped into its current state. The screenplay from Vanessa Taylor is sharp in these instances but can also feel claustrophobic and sluggish at times. The other thing Carrell does is show a possible turning point for his career post-"Office" days.

"Hope Springs" is just three characters the whole time with only a glimpse into Kay and Arnold's family and outside life. Interaction with more people and a slightly larger scope would've given the movie more stretching room and made it feel less slight. Worth watching, though, is Streep and Jones, especially during a charming and hilarious movie theater scene where the couple tries something way outside their comfort zone. What's more is that this isn't just about a 20-plus year marriage crisis -- it's more universal and through the outlet of this couple reaches to themes about seemingly small problems in life that can grow to something more painful and permanent.

CRAZY, STUPID, LOVE. Review

"Crazy, Stupid, Love." (2011)

Emma Stone is the new go-to girl for light comedy, there's no question about that. She's charismatic, glowing and provides the perfect blend of sassy and self-deprecating humor. In the warm and welcome delight of the summer, "Crazy, Stupid, Love." she's no different.

The revelation here, however, is Ryan Gosling who brings a remarkable knack for comedy we never knew he had before. As the suave, overbearingly charming and hustling womanizer Jacob, he nails it -- with or without his shirt on. I guess that's what you get when an Oscar-worthy actor gets casually tossed into the mix. And after being quietly overlooked for his performance in "Blue Valentine," he's bouncing back with more force, and it'll be nice to see him as the lead in George Clooney's "Ides of March." Gosling and Stone serve as one of the couples we follow in this unassuming comedy, and after seeing them together you might be wondering why we haven't seen it sooner.

Sometimes a movie comes along that takes you for surprise and sweeps you off your feet. "Crazy, Stupid, Love." from directors Glenn Ficarra and John Requa ("I Love You Phillip Morris") is that movie. You may go in just expecting a conventional romantic comedy, but don't be fooled. With a stand-out ensemble cast and a thoughtful look at life that feels ever so real, it's a movie that is potent with true value and emotion firing on all cylinders. Best of all, it comes off as such breezy entertainment while dealing with weighty issues about love, longing and loss. Its characters are able to laugh it off because, before truly understanding what it means to follow your heart, they understand the pain that comes with it.

Opening with a punch to the gut, Cal (Steve Carell) hears from his wife, Emily (Julianne Moore), on a nice dinner out that she wants a divorce. He's shocked to the point where exiting a moving vehicle feels like an appropriate response. She has slept with another man, a co-worker whose name turns into a repeated curse word, David Linghaden (Kevin Bacon). Maybe Cal has lost his alpha male instinct after being a cozy husband and father of three as he loafs around in wrinkled khakis and worn-in New Balance sneakers. Enter Jacob who finds Cal pitying himself in a glitzy bar and makes it his duty to give Cal both a physical and personality makeover. As Jacob tells Cal to "be better than the Gap," their moments together are magnetic, and that's only the beginning.

Other romantic mismatching involves Cal's 13-year-old son, Robbie (Jonah Bobo), who has a major crush on his babysitter, 17-year-old Jessica (Analeigh Tipton). She, however, has eyes for an older man: Robbie's dad. There's also Marisa Tomei having tons of fun as Robbie's eighth grade school teacher who feels betrayed by Cal. And, of course, there's Jacob relentlessly courting law student Hannah (Emma Stone). All of these minor subplots surround the main issue of Cal and Emily's divorce, and they are all fleshed out with fully realized characters. Each of them play an important role in the larger scheme, and even when the converging plot lines amount to absurd coincidences, the script from Dan Fogelman makes sure to keep the situations grounded in rather poignant naturalism.

There are plenty of moments worth savoring such as Emily calling Cal under the facade of having a maintenance problem but only wants to hear his voice or the night of flirtatious seduction between Jacob and Hannah which is easily the film's highlight. "Crazy, Stupid, Love." is at last what feels like an updated look at contemporary behavior in relationships -- the way they work through all the hardship and heartbreak and the hope that leaves us clinging to that crazy word we call love.

"Date Night" (2010)

Director Shawn Levy is only known for making standard run-of-the-mill movies like both installments of "Night at the Museum," "The Pink Panther" and "Cheaper by the Dozen." It was smart of him, then, to let the two funniest people in America do the work in his latest movie, "Date Night." Steve Carell and Tina Fey play Phil and Claire Foster as they depart from their respective NBC office-bound shows, "The Office" and "30 Rock," to hit the big screen together. The reason this movie works so well is because of them and the way they interact as a boring, married couple. It's funny because we can believe it. They're both equally attractive, about the same age, fit well together and have a similar brand of humor that never ceases to surprise. And while the material doesn't allow them to be nearly as sharp as they are on TV, they make it funny nonetheless which is a testament to their comedic abilities. You could probably put them in any situation together, and it'd be funny because they are a riot to watch.

The Fosters are a New Jersey suburbanite family with normal jobs, a normal house and normal kids. Phil wears his nose strip to bed while Claire wears her mouth guard, but they barely have enough energy to get themselves to that point in their day. At a book club session, the Fosters learn that a married couple they know is getting a divorce, played briefly yet effectively by Mark Ruffalo and Kristen Wiig. Upon hearing this news, they begin to worry. Sure they call up the babysitter and go out on date nights, but they decide they need a night together that's more than just about going out to eat somewhere. Sprucing themselves up, they head out for a night in Manhattan and try to get into a fancy, upscale restaurant -- without a reservation. They are, of course, cast aside, but in the heat of the moment, they take a table for two under the name Tripplehorn. Little do they know that the Tripplehorns are caught up in some nasty business with thugs and corrupt cops.

What unfolds is sheer slapstick as the Fosters get chased deeper and deeper into seedy Manhattan nightlife. What makes it so hilarious through and through is the fact that they don't belong wrapped up in any of this. They're completely unfamiliar in this territory, and Carell and Fey play off each others' riffs and timing perfectly. They have a plan when it feels right, and they also freak out when it feels right. The best lines are when the two actors are clearly ad-libbing, which allows them and the movie to escape the otherwise stuffy writing. It becomes so engaging because we're engaged by the two leads who know exactly what they're doing, and regardless of whatever is happening, they just keep churning out the laughs.

The movie's surprisingly robust supporting cast is also put to good use with a handful of talented performers. James Franco and Mila Kunis play the real Tripplehorns, a slumming hipster couple whose scene with the Fosters is one of the high points. There's also a perpetually buff and shirtless Mark Wahlberg in a humorously self-mocking role. He's the security guru who helps the Fosters navigate their way in the city. Even Taraji P. Henson strikes a note as the police investigator trying to figure out how in the world the Fosters got themselves tangled up with the city's head mobster, Joe Miletto. This name is always said with an ominous undertone, and then shit gets serious when we realized he's played by Ray Liotta in another self-mocking role. Of course Liotta would be the mobster.

Yeah, the third act gets sluggish and the car chase could've been a bit shorter, but overall "Date Night" is zippy and clips along at a reasonable pace at only 88 minutes. And, you just really have to hand it to Tina Fey and Steve Carell because they carry this movie convincing us not only that they're funny but also that their characters are naturally that funny, too. And don't skimp out on the credits because you'll miss some great improv.

Archive: 'Horton Hears A Who!'

Movie Review
Horton Hears a Who! (2008)


Hollywood has done its fair share of botching certain Dr. Seuss classics. With 2000's "How the Grinch Stole Christmas" and 2003's "The Cat in the Hat," a lot was done wrong. Thankfully, though, there's a sense of renewed hope for the revival of Dr. Seuss's magic with "Horton Hears a Who!," a rich and lively adaptation that puts the other two to shame. Maybe the trick was going the animation route, but whatever it is, something has clicked. The makers of "Ice Age" and "Robots" have kept true to the Seuss vision; they are loving and attentive while adding their own contemporary flourishes without ever being too over-the-top. Like the original 1954 children's book and all of Dr. Seuss' work, this big screen translation provides that signature combination of the eccentric and the ethical without sacrificing anything along the way.

One day in the Jungle of Nool, Horton the elephant (Jim Carrey) hears the tiniest noise come from a speck that just happens to be floating along. It just so happens to be the voices of the residents of Whoville, which is an entire universe that exists in that minuscule speck. Horton miraculously gathers the attention of the Mayor of Whoville (Steve Carell) and soon realizes that the entire fate of the Whos is in his hands. And so, running around with a clover flower upon which the speck is perched, Horton becomes determined to find a safe place for all of the inhabitants of Whoville to reside within their world of a speck. Along the way, though, Horton encounters some resistance including the vile Kangaroo (Carol Burnett) who rules the jungle and holds strong to her belief that "if you can't see or hear it, it's not there."

The Mayor of Whoville has a tough time convincing people that there's a huge elephant in the sky talking to him. Even his wife (Amy Poehler) is skeptical, and he also has 96 daughters to worry about and his one son JoJo (Jesse McCartney) who doesn't talk until a surprisingly crucial point. But the Mayor has no reason to worry as Horton is as determined as can be, claiming that "a person's a person, no matter how small." Even when the snooty Kangaro sends an evil vulture named Vlad (Will Arnett) after Horton, he refuses to give up sticking to his motto that "an elephant is faithful 100 percent!" Horton is accompanied by a hyper-active little rodent named Morton (Seth Rogen), along with a whole flock of bouncy, stretchy, and colorful characters that could only be so brightly conveyed through animation. Along with the animals, an entirely vibrant environment is created with a gorgeous and fittingly goofy visual style that comes from veteran Pixar animator Jimmy Hayward.

"Horton Hears a Who!" is absolute frivalous fun that children will love for its cute characters, and even adults won't be checking the time. The entire experience is exuberantly wacky and pure enjoyment that's erratic and charismatic. There are certainly some random lines and scenes that will catch you off guard, including two bizarre homages to 2-D animation including one that looks exactly like Dr. Seuss' illustrations and another that pokes fun at Japanese animation. There are only seldom pop culture references, and they are tastefully placed, especially a bash on Myspace (cleverly renamed "Whospace"). It's during the end scene, though, where all of Whoville makes a whole ton of noise to announce "We are here!" loud enough to escape their city limits, that the movie truly hits a high note.

The voice acting consists of A-list comedians Jim Carrey, Steve Carell, Carol Burnett, and Seth Rogen, and they all carry a ball of energy with their performances. You wouldn't place Jim Carrey as a bumbling and imaginative elephant, but he fits the part wondrously. Steve Carell is also fittingly frantic and frazzled as the Mayor, and both he and Carrey bring their own comic flair to their characters while holding endearingly true and faithful to the good doctor's original intent. And then the whole adventure ends with a jubilant musical number rightfully between Carrey's Horton and Carell's Mayor singing proudly of triumph and friendship. It's fantastic.

Archive: 'Get Smart'

Movie Review
Get Smart (2008)


I would never expect to find Steve Carell in an action flick, but here he is reprising the role of Maxwell Smart, who was played by comedian Don Adams in the original 60s TV spy spoof sitcom. "Get Smart" succeeds in being a TV-to-movie transition because the filmmakers have created stand-alone solid entertainment rather than fully focusing on being faithful to the source material. It's not so much a remake or a replication of the original series than it is an homage. And even more importantly, it's the pitch-perfect casting that makes it work the way it does. The screen is filled with likable characters thanks to an excellent mix of supporting actors who do a superb job of working off each other's comic timing while surrounding the hilarious Carell. Together they create something that is engagingly quick and clever.

Steve Carell's portrayal of Maxwell Smart is just about perfect. He's bumbling yet confident and absolutely nails the deadpan humor. This guy does the most hilarious things effortlessly and keeps a straight face while doing so, making it all the funnier. It's only fitting that there's a cameo by the other king of deadpan, Bill Murray, as Agent 13 who always has to hide in ridiculously uncomfortable places. There's also Anne Hathaway, who's right by Maxwell's side as the sexy Agent 99, and she has a cool aura about her that blows away all of her other goody-goody roles. Her demanding presence is a delightful surprise. And the two of them also have a sweet and convincing chemistry as they play off one another. Other players include Alan Arkin as the snarky Chief and Dwayne Johnson (formerly known as "The Rock") as Agent 23 who each holds their own.

Maxwell Smart is an expert analyst for a U.S. secret agency named CONTROL. His job is to overhear and decipher conversations involving agents of KAOS, the agency's Russian enemy and counterpart. The story involves CONTROL getting compromised by a villainous man named Siegfried (Terrence Stamp). Desperate for agents, Smart is, to his own disbelief, promoted to a field agent and teams up with Agent 99 to take down the bad guys. The plot really is, well, not really existent, and instead, is a setup for action sequences infused with physical comedy. It has something to do with KONTROL getting their hands on some nuclear weapons within a bakery and a bomb threat in Disney World during a concert for the president.

Every action and chase sequence scattered throughout the movie is accented with moments of humor, which keeps the tone cheerful and whimsical. The movie is a winning combination of thrills and hilarity, and what's best is that both halves work. It's all purposely silly to match that of the original TV show, but even for its own sake the silliness works. And these aren't phony, fake-looking action sequences, either. The production values are all still there, and great attention has been paid to all of the action. There's one climactic scene in particular that involves a plane, a speeding SUV on a highway, a large banner, and a train. No sacrifice has been made to compensate for the addition of laughs. So, it's good, too, that the movie is frequently very funny no matter if it's an all-out belly laugh or just a smirk on your face.

"Get Smart" has plenty of references to the original TV show including the not quite ready for James Bond gadgets, the cone of silence, and the shoe phone. Carell also delivers some of Max's original lines such as, "I missed it by this much!" The opening sequence, as well, replicates the show's opening credits with a series of never ending large metal security doors that Max has to walk through ending in the phone booth that takes him to the CONTROL headquarters. For once, this is a TV series-based movie that rewards nostalgia without ever really demanding it from its viewers. While paying tribute, it's also just a lot of fun on its own terms. And, while not perfect, as goofy summer entertainment goes, it's ideal.