I’ve been hoping, wishing, praying for Guy Ritchie to return back to his screwball Cockney crime pictures of his splashy beginning, but the further and further I get from 2001’s Snatch, the more I think it’s a luxuriously madcap exception. The Gentlemen is a closer return to form than 2008’s RocknRolla, but it’s still a long way off from early Ritchie. The recognizable elements are there, from the convoluted story with twists and turns, the non-linear storytelling lapping and overlapping itself, the comical brushes with sudden violence, the colorful array of criminal characters, and a sense of style that seems all over the place. We follow Matthew McConaughey as a marijuana titan looking to get out of the business, though there are threats old, new, and “just business” that are trying to take his empire from him before his exit. The biggest problem with The Gentlemen is how clever it feels like it needs to be and how few characters there are to find interesting. Snatch, by contrast, forever contrast, was practically a Dick Tracy rogues gallery of all its memorable and unpredictable characters. These feel pretty rote, even our heroes, and the minority characters get even shorter shrift. The plot is also more complicated than it needs to be with an extended meta-textual layer of a lecherous Hugh Grant tabloid journalist pitching the story like it was a movie (irony: it is a movie!). It took maybe 45 minutes before I felt like the story was finally picking up momentum and stakes, and by the end, it felt like Ritchie was just extending his story with another twist and wrap-up, and then another twist and wrap-up, like the outer edges of the movie cannot be contained and somehow it’s still even going. It’s like Ritchie doesn’t know when to walk away from his own party. Because of these things the pacing is wonky and there are more than a few tedious stretches. Colin Farrell has some amusing moments but should have been the main character as a boxing trainer who takes a shine to try and reform local hoodlums. McConaughey’s character is too boring and always wins too easily, which makes him more boring. The Gentlemen is a C-level rendition of Ritchie’s best material, and Snatch only shines even brighter with each new miss.
Nate’s Grade: C+
Coming 12 years after the last Bridget Jones outing, I was pleasantly surprised to discover how warm my feelings still were for this plucky, feisty heroine. Now in her mid/late 40s, Bridget is contemplating a life never becoming a mother when, surprise, she gets very pregnant and has two possible fathers: billionaire love guru Jack (Patrick Dempsey) or her newly available on-again off-again beau, Mark Darcy (Colin Firth). It’s a frothy plot contrivance but the screenwriters (including author Helen Fielding and co-star Emma Thompson) are able to produce fun comic scenarios that fully embrace the premise and its soapy conflicts. Bridget has two pretty appealing options, and when both men finally discover the possibility of the other, it becomes an entertaining game of one-upsmanship. The requisite romantic comedy elements don’t forget to be funny too, including an ending rush to the hospital that achieves some inspired slapstick. The film is swiftly paced and filled with zingers, and I just sat back for the two-plus hours and enjoyed the company of these silly yet realistic human beings. I enjoyed the adult humor and conversations that rarely get as much development in this genre. With all her self-sabotaging ways, you come to realize how much of a prize Miss Bridget is, and Zellweger slips right back into the role like no time has passed. However, plenty will grumble about Zellweger’s much-publicized plastic surgery, or the fact that she didn’t pack on the pounds for this picture, but I don’t see why any of that greatly matters in the interpretation of this character. The personality of Bridget is more than the alignment of her facial features. For fans of the series, Bridget Jones’ Baby is a welcomed return to form from 2004’s Edge of Reason and an extra dose of enjoyable fan service, tying up its tidy happy ending with a bow. Here’s something to chew over: my father had no prior knowledge of the Bridget Jones series, decided to see this movie, and enjoyed it thusly. Give Bridget Jones and her baby daddy drama a chance and you too may be surprised.
Nate’s Grade: B
Guy Ritchie’s big screen reboot of the 1960s TV show is the right kind of fizzy summer escapist entry that goes down smooth and entertains with just enough swanky style to pass the time. The Man from U.N.C.L.E. is equal parts spy thriller and straight-laced genre satire, hewing closer, and more successfully, to a marriage between Ritchie early cockney gangster flicks and his big-budget Sherlock Holmes action franchise. It’s often fun and surprising at how well it holds its tone between comedy and action; it almost feels like a screwball romance with guns and bombs. The trio of leads, Henry Cavill as the American agent, Armie Hammer as the KGB agent, and Alicia Vikander (Ex Machina) as the German asset, make an engaging group with plenty of conflicts to explore. It’s surprisingly more character-based than driven by its action set-pieces. Cavill shows far more life and personality than I’ve ever seen from him on screen. Vikander and Hammer have an amusing chemistry together and the movie allows them to roughhouse without pushing either character in a direction that feels too safe. Their series of will-they-won’t-they near misses will drive certain portions of the audience mad. The movie gets into danger when Ritchie and his co-screenwriter Lionel Wigram get too cute, especially with a narrative technique where the movie doubles back or highlights action that was in the background at least four times. The world of this movie is also another asset, as the period costumes, soundtrack, Italian locations and production design are terrific and further elevate the swanky mood. It’s an ebullient throwback that serves up enough entertainment with its own cock-eyed sense of throwback charm.
Nate’s Grade: B
Delightful from beginning to end, Aardman’s stop-motion animated caper Pirates: Band of Misfits is hands down the best animated film of the year. Its wry British humor is mixed with inspired slapstick and a child-like sense of folly as the Pirate Captain (voiced by Hugh Grant) and his motley crew try to prove themselves to their pirate peers. Then they run into Charles Darwin, discover their parrot is really the last remaining dodo, and have to face off against a double sword-wielding Queen Victoria. The imagination on display is remarkable. Even the puns are funny. The pacing is swift, with gags flying so fast you’ll likely want a second viewing to catch them. The voice acting is spot-on and Grant anchors the film with his gleeful impulsivity. The story is simple but well executed and fun. I absolutely loved this movie. Its action sequences are well orchestrated, its comedic sensibilities are silly but often satisfying (a monkey butler who speaks in pre-written cards, a member of the crew that is merely a fish with a pirate hate on), it’s self-aware without being too self-conscious, and the animation is wonderful. There’s something about stop-motion that other animations cannot replicate, a physicality to its world that can make it so rich and immersive in the right hands. Kids will miss the references to, among others, Darwin, Jane Austen, and John Merrick, but adults will appreciate the nods. Pirates: Band of Misfits is a wildly entertaining family-friendly animated adventure that has it all.
Nate’s Grade: A
As bland and flavorless as the 1980s pop pap it hopes to skewer. For die-hard fans of the romantic comedy genre, there may be some minor level of enjoyment, but for the rest of us (those without ovaries) Music and Lyrics is predictable to the end and Hugh Grant and Drew Barrymore don’t elicit any semblance of chemistry. The songwriting is noticeably a cut above thanks to Fountain of Wayne’s bassist Adam Schlesinger writing them, but even the participation of one of my favorite bands can’t make Music and Lyrics worth seeing. The Duran Duran-esque music video that opens the film is a hoot and it all goes downhill from there, especially if you find it difficult to accept long durations of the cutesy baby act of Barrymore.
Nate’s Grade: C
You don’t see too many sequels to romantic comedies, and that?s practically by design. Most romantic comedies consist of keeping the leads apart as long as possible, and then in that final climactic moment they connect, embrace, kiss, usually while a camera pans around them and some up-tempo Top 40 songs swells on the soundtrack. Then we end, our story finished. You see, romantic comedies are essentially modern fairy tales, and they end on the “happily ever after” moment, the most joyous moment. We don?t think about what their lives could be afterwards. I doubt few in the audience are biting their nails to know who does the dishes or if their sex life diminishes.
So for all of these stated reasons, sequels to romantic comedies are rare, unless, of course, they’re based on a book series that’s a cash cow of chick lit. Thus, America, we are given Bridget Jones: The Edge of Reason, the sequel to the smash 2001 film Bridget Jones’s Diary.
The movie takes place four weeks after Bridget (Renee Zellweger) and Mark Darcy (Colin Firth) cuddling in the falling snow. Their relationship is all lovey-dovey, until Bridget starts reconsidering if she made the right choice of men. Her former boss, Daniel (Hugh Grant) has gone on to fame as a travel correspondent for TV news. He’s a bad boy, for sure, but sparks flew with him. Bridget also suspects Mark of cheating on her with a leggy colleague (whose final plot revelation is quite dumb). Bridget tries her best to fit in with Mark’s upper crust society, but is starting to feel unaccepted. Then she becomes a partner to Daniel on his travel reports, and the two visit exotic locales and sparks begin once more.
Edge of Reason feels like a poor slapdash grab at money. The film lifts entire scenes from the first Bridget Jones movie and tries reworking them for similar effect. Watching Firth and Grant sissy fight each other is amusing … the first time I saw it in 2001. For the most part, it seems like the filmmakers behind Edge of Reason were straining to come up with things after that “happily ever after” moment. What other reason can there be for some of the disastrous plot turns in Edge of Reason? The revolving door of writers (including author Helen Fielding herself) manufacture petty and foolish nitpicks for Bridget that she treats as life or death. It’s hard to feel concern for her. When you strand your main character -in a romantic comedy, no less- in a Thailand prison because she was caught smuggling drugs -in a romantic comedy, remember- then you have some giant plot issues.
The wit and biting commentary from Bridget seem to be stripped away. She only makes two journal entries, which open and close the film, and they were responsible for some of the greatest comedy bits in the original movie. She no longer comes across as a snappy, ordinary girl with a big heart and some big neuroses (did I mention the Thailand prison?). The Bridget of Edge of Reason seems a bit obnoxious at times. The comedy of Edge of Reason doesn’t generally rise above slapstick. Watch Bridget parachute into a dung field (Ha!), watch Bridget ski backwards down a slalom (Hilarious!), watch Bridget get stoned from magic mushrooms (You’re killing me!), and don?t forget to watch her fall down, like, a lot (R.I.P. Nate; cause of death: laughing too hard). The makers of Edge of Reason are just trying too damn hard.
It’s a wonder that Edge of Reason does work at times, and that reason is because of the acting of our romantic trio. Zellweger is still incredibly charming despite some of the things she’s forced to do. She’s never looked better than when she has her Bridget Jones physique; she’s practically glowing. Grant is at his best when he’s a cad, and once again he gets the best lines, especially when he’s undressing Bridget during a work trip. The movie comes alive when he and Zellweger start their flirtatious battle. Firth adds shades of humanity and adoration to his fuddy-duddy role. He’s got a great everyman appeal even when he’s being a twit.
Edge of Reason also seems to flog whatever it feels is funny. If Bridget saying something inappropriate in front of a group of dignitaries and ambassadors is funny, then expect it to happen again five or six times. And it does, sadly. Edge of Reason is almost a wall-to-wall torture chamber of public embarrassment for Bridget, and if the filmmakers thought that would endear her to audiences they were wrong. We were endeared already by her wit and charm, but I guess the people behind Edge of Reason thought we didn’t want more of that. I miss you old Bridget Jones, wherever you are.
The first Bridget Jones movie was directed by Sharon Maguire, a personal friend of Fielding. Maguire was close enough to know how to adapt the story and retain the elements that made Bridget Jones entertaining. Edge of Reason‘s director Beeban Kidron seems to be assembling a Bridget Jones movie for a focus group. We lose the personality of Bridget and get an accident-prone buffoon. All that’s missing are the banana peels.
Everything about Edge of Reason screams laziness. A great example of this is the film’s choice for music. The songs are so obvious, from “All By Myself” to “I’m Not in Love” to songs that simply have “love” in their title, like “I Believe in a Thing Called Love” to Beyonce’s “Crazy in Love.” Chances are, if your band ever released a song with “love” in the title, the music director of Edge of Reason considered using it.
Bridget Jones: The Edge of Reason will likely entertain its core audience (there were very few men unaccompanied by women in my theater). The cast makes this stilted sequel worth watching. If you really liked Bridget Jones’s Diary, you’ll probably be intermittently amused with Edge of Reason, because it’s the same meal, only reheated with a bit of a chill. Let this be an example of why Hollywood doesn’t make sequels to romantic comedies. We’re happy enough with “happily ever after.”
Nate’s Grade: C+