The notorious back-story behind Solo: A Star Wars Story has more than eclipsed whatever else this “young Han Solo” prequel appeared to offer. Directors Phil Lord and Chris Miller were responsible for a string of fast-paced, silly hits like The Lego Movie and the 21 Jump Street films, and when producer Kathleen Kennedy hired them, it felt like an inspired infusion of new blood to make a Star Wars movie different in tone and approach. Five months into shooting and mere weeks away from completing photography, Miller and Lord were fired. The on-set rumors and sources have relayed a badly conceived marriage between the directors, given to improv and irreverence, and Kennedy’s sense of what a Star Wars movie should include. Enter Ron Howard, no stranger to the world of George Lucas, and an extensive battalion of reshoots, and you’re left with Solo, which only lists Howard as director. With that as its genesis, it feels like this movie should be a train wreck. It’s not that. Instead, Solo is fitfully entertaining but underwhelming diversion weighed down by its untapped potential.
Years before that noisy Mos Eisley cantina, Han Solo (Alden Ehrenreich) is a low-level criminal trying to find a better life. He loses his girl, Qi’ra (Emilia Clarke), joins the Imperial Army, and defects, finding a partner in a big hairy wookie named Chewbacca (Joonas Suatamo). The two of them join a crew of thieves run by Beckett (Woody Harrelson), and after a job gone wrong, everyone is in grave danger and deep debt to the crime lord Dryden Vos (Paul Bettany). The crew must even the score and make things right, and they must navigate unreliable allies like Lando Calrissian (Donald Glover), his trusted robotic assistant L3-37 (Phoebe Waller-Bridge), and, most surprisingly, Qui’ra herself, working as one of Vos’ top criminal consultants.
Solo is hard to justify except as an increasingly tedious appeasement to the greater altar of fan service. The movie reminded me of those young author biopics like Finding Neverland where everything is given the unspoken-though-heavily implied significance of dramatic irony, where the audience knows, “Oh, this will be where that comes from, or that’s the first time that happened, etc.” Solo provides further light on the Star Wars minutia that only a scant few will work up real excitement over. For every interesting revelation, like Han and Chewbacca first meeting and bonding, there are numerous others that could best be characterized as cataloging the story of Who Gives a Crap?: The Movie. Who cares how Han got his dice? On that note, did I just not remember this trinket being as heavily showcased in the original trilogy as these new films emphasize? Also, who cares about how Han gets the Millennium Falcon? Who cares how Han got into the smuggling business? Who cares why Han was on Tatooine to begin with? The film expects audiences to supply the significance for scenes that lack that on their own. Too much of the script by Lawerence and Jonathan Kasdan (In the Land of Women) coasts along on audience good will carried over from the original trilogy.
As far as being a heist movie, Solo doesn’t put much concentrated thought with its heist set pieces. Much of the plot hinges on a “job” to recover a large amount of fuel owed to the scary crime boss, so the job itself should be treated as important. Once topside, the characters stick to their ruse for about five minutes and things immediately go bad and then it’s just one messy, ongoing action sequence. I could understand carefully planning a scheme only for it to unexpectedly go wrong, but the appeal of heists are their intricacy, development, and complications, and Solo sadly snuffs this appeal out. The high-point of the film is an early Act Two heist that’s the sci-fi equivalent of a train robbery. Things start off promising with the space craft being able to rotate around its rail, which tickles the imagination for plenty of dire hangings on. We even get a few preparatory words for the plan, though even those are fairly general. And then things start and they immediately go bad and stay that way without satisfying complication. Part of the appeal of heists is seeing the curve balls, the unexpected complications, and how our team reacts and recovers. It’s a fun sequence with some thrilling visuals but it never rises beyond the sum of its action particulars, and so an important set piece is held back from going for greatness. The action throughout Solo is serviceable but rarely does it feel like what’s onscreen is the best version of what it could have been. Serviceable, sure.
Which brings about the inevitable analysis over what can be gleaned from the final product that traces back to its original team of directors. There are a handful of comic asides that feel like the lasting touch of Miller and Lord. Beyond that, Solo feels very much like Howard’s movie, though much like Rogue One, the mind conjures the possibilities of the original version. One of the biggest changes is that Howard added Bettany’s gangster character. He’s on screen for really two sequences though his importance stretches over the entire film. Solo feels cohesively like one movie to the degree that if you had never heard about the headline-grabbing production tumult, you wouldn’t suspect anything had happened behind-the-scenes. However, the lasting impact seems deeper, namely that many of these sequences feel, to some degree, interchangeable by design. The execution and development feel lacking. It’s a lingering feeling that what you’ve been watching isn’t fully coming together. It’s not fully engaging the attention and making the most of its beloved characters. It feels less like a seminal moment in the story of Han, Chewie, and Lando and more like an extended episode of a television series. I was too detached and grew restless too often. I started waiting for it to be over rather than waiting to see what happened next.
Ehrenreich showed enormous promise with 2016’s Hail, Caesar! both with comedy chops and leading man appeal, so he seemed like a capable choice for a young Han Solo. After rumors of having to hire an emergency acting coach on set, I was expecting a poor performance. He’s decent, grinning through the indignities, stumbling along with a sardonic sensibility that still plays into a confident sense of optimism against the odds. Ehrenreich, much like most of the movie, is perfectly fine, entertaining at times, but far too often a passing blip. The real star of the movie is Glover (TV’s Atlanta) who is brimming with charisma. Plus Lando’s suave, pansexual nature and tendency toward shady scheming lends itself to a more fascinating glimpse at a character we know decidedly less about.
Clarke (HBO’s Game of Thrones) is saddled with a non-starter of a storyline as the old girlfriend who got away. Harrelson (Three Billboards) plays another cranky father figure role. Bettany (Avengers: Infinity War) is generally wasted as a villain lacking a stronger sense of identity or menace. His weapons of choice, two laser-edged knives, seem like where the depth of character creation ended with him. Oh, he also has scars over his face, so that’s about the same as a personality. The lone supporting player that leaves an impression is Waller-Bridge (Fleabag) as the android, L3-37. I could have used an entire movie with her and Lando. She becomes a political revolutionary by accident over the mistreatment of droids, and L3-37 does what the other supporting characters, and even what Ehrenreich to some extent, do not — leave you wanting more.
After its problematic history, it would be easy to look for ways to carve up Solo as a Hodge-podge creation of studio interference but that’s too tidy an explanation. I’m not against the idea of a “young Han Solo” film franchise, though it needs to find the right stories to shed new and meaningful light on this classic rogue. Han Solo was, like, mid thirties at the oldest in 1977’s Star Wars and Ehrenreich’s early-to-mid 20s version doesn’t afford a great many differences (he was already a “young” character to start with). If you’ve bought into the Star Wars universe, there should be enough to at least be entertained by, and if you’re a nascent fan, then Solo might be an easily digestible fun adventure. The mitigated or underdeveloped potential nagged at me as I was watching. It’s got aliens and space heists and most of the time I was approaching boredom. I’ll label the movie with its own Scarlet F: it’s… “fine.” It’s the kind of movie you shrug your shoulders at afterwards, not necessarily regretting the experience but moving along. Perhaps we’re just at a natural point in the post-Disney-purchase of Star Wars, and now we’re facing less-than-ideal time-discharged product. I was hoping for more, either good or bad, but had to settle for a relatively lackluster prequel. I don’t know if there will be further escapades with the “young” Han Solo but I wish they choose them more wisely. Even the title feels bland.
Nate’s Grade: C+
15 years. 6 movies. 3 different lead actors. 2 reboots. I wouldn’t be surprised if a majority of the American public likely knows more about Spider-Man than their relatives. In 2002, the first Spider-Man movie kicked off the new century by affirming to studios that superhero movies are a sound financial investment. Director Sam Raimi and Tobey Maguire kicked off the glut of superhero cinema, paving the path for the massive Marvel Cinematic Universe (MCU) and its own unparalleled run of financial and critical success. Then the overreach killed off Raimi’s Spider franchise in 2007 and overreach again killed off Sony’s Spider reboot in 2014. Sony wisely sought out an assist from the gurus of Marvel, striking a deal and having the web-slinger return to the MCU. Fans rejoiced. Spider-Man: Homecoming announces itself as a brash, exhilarating, hilarious, and amazingly assured film that immediately lines up with the upper tier of the MCU. Marvel should use this as Exhibit A, submit it to Fox, and say, “Here’s how we can do your franchises better.”
Peter Parker (Tom Holland) is your ordinary 15-year-old from Queens, New York who was given amazing powers after being bit by a radioactive (or genetically modified) spider. It’s been weeks since he was called into action by Tony Stark (Robert Downey Jr.) to thwart Captain America (Chris Evans). Now Peter is back home and waiting for his literal call to adventure, for Stark to officially call him up to join the Avengers. Peter anxiously waits for school to end so he can don his Spider-Man suit, modified by Stark Industries, and fight local crime and injustice. This mostly amounts to stopping bicycle thieves, helping old ladies with directions, and other inglorious tasks. Peter’s Aunt May (Marisa Tomei) would prefer he focus on his studies rather than the time he’s been spent on the “Stark internship” (his fib to cover said crime-fighting). New weapons begin appearing on the streets, built from the discarded alien technology from The Battle for New York. Spider-Man investigates the source, Adrian Toomes (Michael Keaton), a pilot who adopts the moniker of The Vulture while in the sky with his winged jet pack. The formidable weapons pose a real pressing danger to society, and Peter pushes further, at his own peril, to confront the Vulture and stop the flow of high-tech weapons.
For many fans of the webhead, this will feel like the first time they’re watching the Spider-Man of the comics on screen. This is the first film incarnation where Peter remains in high school for the entire duration of the movie, and it’s also thankfully the only telling that eschews an origin story. He just is Spider-Man, however, the arc of the movie is him settling into that identity. It’s in many ways a coming-of-age story for the superhero set, as Peter has to come to terms with his earnest desire to help others and his own maturation, both as Spider-Man and as a high school sophomore. He’s learning just as much to be Peter as he is Spider-Man. Just because he has these powers doesn’t mean he’s ready for the rigors of the world. Homecoming is very much a high school movie. There are familiar John Hughes influences throughout, and the film smartly subverts certain high school tropes (driving lessons, prom dad from hell). It presents our hero struggling with asking the cute upperclassman (Laura Harrier) to the dance just as much as the demands of being a fledgling local superhero. His interior life is much more available and relatable but he’s still a teen navigating the world. Also, by having Peter be the youngest film incarnation yet, it allows for the satisfying indulgence of superhero wish-fulfillment. Whereas the X-Men powers are naturally linked to the progression of puberty, those are usually portrayed as a curse, something that ostracizes, confuses, and produces great anxiety and fear. With Spider-Man, being a superhero is the coolest thing in the world. He’s not consumed with angst like Andrew Garfield’s broody Peter Parker and his weirdly special DNA (what was the deal with his parents and that conspiracy? Oh well). Watching this exuberant Peter Parker embrace his new abilities with glee is a great way to keep the movie light and bouncy.
This is also, bar none, the funniest film yet in the MCU (yes, even dethroning Guardians of the Galaxy). With the lighter tone, the movie finds consistent opportunities to inject comedy, from the irony of Peter trying to lead a normal life, to the awkwardness of Peter’s attempts at crime-fighting, to his over eager demeanor, to misunderstandings and hasty excuse-making to conceal his double life, to the sterling supporting cast of characters that contribute different flavors of jokes when called upon. If anything there is so many talented supporting players I wanted even more time with them (Donald Glover, Hannibal Buress, Martin Starr). This cast is a comedic embarrassment of riches.
I was laughing pretty much from beginning to end with Homecoming. Just thinking back on the school’s morning announcements (complete with anchor Betty Brant) makes me giggle. Peter’s best friend Ned (Jacob Batalon) is the movie’s chief source of comic relief, and in less careful hands he would become rapidly annoying. Instead, he’s a reliable presence and given a character arc with a payoff of his own, his desire to be Peter’s “guy in the chair.” It’s genuinely impressive screenwriting when even the comic relief sidekicks have arcs. Zendaya does an impressive job of selling every one of her jokes, which traffic in a very specific smart-aleck, apathetic tone. She’s graduated from the Disney Channel to the bigger leagues. There’s a hysterical series of inspirational education videos featuring Captain America, and if you stay past the end credits there’s a great payoff for that. There’s even some sly meta jokes calling back to Raimi’s Spider-Man. Every joke at least lands and most of them hit hard, benefiting from strong development and timing.
Nevertheless, just because it happens to be one of the funniest movies of the year, Spider-Man: Homecoming still finds plenty of space to be dramatic and thrilling. The comedy doe not tonally detract from the other elements. This is not an insubstantial movie just because it knows how to have some fun (take notes, Zack Snyder and DC). This is not a flippant movie because of tone or the heavy joke quotient. There are sincerely sweet moments born out of the characterization, like when Aunt May takes it upon herself to teach Peter how to dance (this would not be possible with a geriatric Aunt May). Director Jon Watts (Cop Car) has a steady command with his high-flying visuals and maintains the tight walk of tone that allows all the elements to work together as a blissful whole.
There are superb action sequences that advance the story forward and allow for the characters to grow. It’s exactly what good action is supposed to do, besides, you know, quicken the pulse. The humor can also arise naturally from these set pieces. Take for instance Peter suiting up while attending a suburban house party. He spots some alarming energy discharges on the other side of the suburb, but without any tall buildings for him to latch onto, he has to hoof it the whole way on foot. It’s a smart comedic aside and it helps to remind us that this Spider-Man isn’t an instant pro after getting his powers. It all comes together best in a D.C. rescue at the Washington Monument. It bridges the personal with the action. The bifurcated ferry set piece serves as the Act Two break and it’s a killer segment that pushes Peter to his limits to solve a dilemma that seems incapable of being fixed. There may not be any action scene to rival Raimi’s finest but the character-centric action and the organic development of the complications lays a foundation for a consistently entertaining film littered with joyful payoffs.
The biggest fear I’ve read from Spidey fans was that the involvement of Robert Downey Jr. would tip the scales, turning a Spider-Man movie into a defaco Iron Man sequel. Considering America loves Iron Man, I don’t see how his inclusion is a problem. Civil War was still very much a Captain America film even though Iron Man was the co-lead. Tony Stark represents a distant mentor for Peter and also the gatekeeper. Peter is anxious to become an Avenger and looking for Stark’s approval, which brings an enjoyably unorthodox paternal side from Downey. If there is a complaint I can foresee, it will be that Spider-Man is too similar to Iron Man thanks to the special suit. Spider-Man’s suit has its own Jarvis-style A.I. program (adeptly voiced by Jennifer Connelly, wife to Paul Bettany, former voice of Jarvis) and extra special gadgets including a spider drone and unusual web shooting options. It provides a new sense of discovery for the character since we’re already starting with him powered. The second act is Peter getting accustomed to the boost his suit gives him, becoming reliant upon them, and then having it stripped away as a natural Act Two break so that the conclusion has even more stakes without the security of the suit. It makes Peter much more vulnerable. The Iron Man parts are more a background motivational force and this is still very much a Spider-Man film.
Holland (The Lost City of Z) is already my favorite Spider-Man. Period. He made such an immediate and strong impression in Civil War that I was greatly looking forward to his first big starring venture, and Holland does not disappoint. This is the first Spider-Man that doesn’t feel crushed by the heavy burden of being a superhero. He’s a kid eager to grow up and join the world of other caped crusaders, but he’s modeled his crime fighting from what he’s seen on TV. He doesn’t really know what he’s doing. He’s still an awkward kid, and Holland brings great authenticity to the smaller character moments and the bigger heroic strides (while maintaining a convincing American accent). This is a more relatable, vulnerable, and interesting Peter Parker. Even though he thinks he should be beyond the mundane life of high school, he doesn’t ever act pompous or look down on other characters, which is endearing. At times Holland feels like he’s going to explode with energy, as if life is too much to process in the intermediary. He’s a teenager and the world feels so big and open. It’s an instantly engaging and likeable portrayal that wonderfully capitalizes on the introduction from Civil War. This is a Spider-Man, and his spider world, that I want multiple sequels to further explore and challenge.
Keaton’s Vulture already ranks as one of the best villains in the MCU (a low bar, I admit), and that’s because the movie humanizes him and gives him significant moments. He’s just a regular working-class man trying to provide for his family. In fact the first five minutes of the movie focus exclusively on Toomes and explains his sticky situation. He feels cast aside by those in the upper echelons of power. His eventual “you and I are the same” speech to Spider-Man has credible points. You can see, from his perspective, how he’s an underdog sticking it to the rich elites. Shockingly, there’s only one death in the entire movie and even that is an accident. Toomes is not your standard comic book villain, and there’s a brilliant third act twist that makes him even more centrally involved in the narrative. That opens a delicious sequence of dramatic irony. Keaton has a quiet menace to him that’s very unsettling. It’s all in the lower register. His character doesn’t blow up. He just narrows his brow and intensifies that scary stare. I’m glad the filmmakers realized that more Keaton was an asset to the film.
Let’s also take some time to celebrate the sixth Spider-Man movie for having a diverse population of characters that would actually represent Queens. Peter’s best friend is of Filipino descent, the girl he crushes on is biracial, the loner girl is biracial, and even the high school bully, Flash Thompson, is Hispanic, played by Tony Revolori from The Grand Budapest Hotel. This might be Marvel’s most diverse cast yet, though “yet” being the operative word considering that Black Panther is arriving in early 2018.
This movie is a total blast. Spider-Man: Homecoming actually manages to give new life to a character that has already appeared in five other movies. That’s an amazing feat. Another amazing feat is that six different screenwriters, including the director, are credited with this movie, yet it feels fully coherent in its vision and presentation. This is Peter Parker, the teenager struggling with self-doubt, hormones, and an eagerness to grow up, and the movie feels much more human-scaled, forgoing giant CGI smash-em-ups for something more grounded, personally involving, and ultimately successful. Just because Homecoming is fast-paced and funny doesn’t mean it lacks substance. I was elated during long portions of this movie, impressed by the steady stream of setups and payoffs, the incorporation of the many characters and comedic voices, and the varied action set pieces that were focused on character progression. If you are tired of superhero stories, I’d still heartily recommend this movie. Dear reader, I feel like I’m failing you and turning into a frothing fanboy because I can only think, at worst, of negligible quibbles against the film. Everything in this movie works. Everything. It’s everything I was hoping for and then some.
Nate’s Grade: A
It seemed like only a matter of time before those in the Mouse House started looking through the back catalogue of hits for inspiration. The Jungle Book is a live-action remake of the 1967 Disney animated film, but it’s only the first of many such translations to come. A live-action Beauty and the Beast is being filmed currently and plans are underway for a possible live-action Aladdin as well, though I pity the actor with the unenviable task of replacing the beloved Robin Williams. I was wary of director Jon Favreau’s (Iron Man) version just because it seemed, on the surface, like a quick attempt to fleece the public of their hard-earned money with a repackaged movie. What I got instead was a brilliantly executed adventure story with a beating heart, amazing special effects, and ultimately an improvement on the original. Imagine that.
Mowgli (Neel Sethi) is a boy raised by a pack of wolves. He tries to fit in with his pack but he grows a bit too slow and he can’t help himself with “tricks,” making tools. During a drought that signals a jungle wide peace between predator and prey, the feared tiger Shere Kahn (Idris Elba) lets the rest of the animals know his demands. The “man cub” is to leave or Kahn will hunt him down. The mother wolf, Raksha (Lupita Nyong’o), refuses to part with her child but Mowgli volunteers to leave to keep his pack safe. Kahn chases him deeper onto the outskirts of the jungle where Mowgli teams up with Baloo (Bill Murray), a lackadaisical bear who makes use of his partner’s affinity for tools and building contraptions. Mowgli’s new life is interrupted when he learns Kahn has attacked the wolf pack with the desire for Mowgli to return and face his wrath. Mowgli must team up with the friends of the jungle and use all his bravery and skills to defeat the ferocious Shere Kahn who has been lusting for vengeance for years.
Favreau’s version of The Jungle Book is a thrilling and thrillingly immersive visual experience that opens up the big screen as an exciting canvas. The visual wizards have made an entire ecosystem look photo realistic to the point that if somebody said offhand that Jungle Book was shot on location in India, I wouldn’t think twice. The environments are entirely CGI and they are brilliantly brought to life in a seamless recreation I haven’t seen so effective since 2009’s Avatar. It’s stunning what can be accomplished with modern special effects, and then there’s Favreau’s smart decision not to radically anthropomorphize his animal cast. These are not some hybrid human-animal combination but rather flesh-and-blood wild creatures that just happen to speak English when they open their mouths (depending upon your territory). The animals don’t fall into that pesky uncanny valley where your brain is telling you what you’re watching is fake and unsettling to the senses (see: The Polar Express). The animals and behave like the real deal and further cement the exceptional level of realism of the movie. From a purely visual experience, The Jungle Book is a feast for the eyes that helps raise the bar just a little bit higher for the special effects industry and its proper application.
The movie would only succeed so far if it weren’t also for its engaging story. Let’s be honest about the 1967 Disney animated film: it’s not really a good movie. It’s fun and has some memorable songs (more on that below), but as a story it’s pretty redundant and flimsy. Mowgli bounces around one potential animal group to another trying to find a home only to move on to the next prospective foster situation. I never made the connection before but in a way the movie North is this plot, minus the talking animals and general entertainment value. There are long segments of the original Disney film that coast just on the charisma of the vocal actors and the animation. Certainly the Beatles parody characters haven’t aged well. There was plenty that could have been added to this story and screenwriter Justin Marks does just that, making the characters far more emotionally engaging. I felt a swell of sadness as Mowgli is separated from his wolf family, his mother declaring that no matter what he still is her son. Marks also personalizes the stakes between Mowgli and Shere Kahn. Each side has a grudge to settle when it comes to vengeance rather than Kahn rejecting the “man cub” out of general fear. This Mowgli is also a much more interesting protagonist; he’s plucky and uses his “man cub” other-ness as an asset when it comes to problem-solving. We have a better hero, a better villain, wonderfully brought to life through the velvety roar of Elba, and a small band of supporting characters that are more emotionally grounded. The wolf pack feels like a genuine family, a community. The relationship between Mowgli and Baloo becomes the backbone of the second half of a briskly paced movie, and the predictable narrative steps feel earned, from Baloo’s con job to caring for his lil’ buddy. The attention to the characters and their relationships provides a healthy sense of heart.
The vocal cast is expertly matched with their jungle creatures, notably Elba (Beasts of No Nation) and Murray (St Vincent). Murray has an innate way to make his lazy character endearing. Nyong’o (12 Years a Slave) gives a much better motion capture performance as a wolf than whatever the hell she was in The Force Awakens. Scarlet Johansson (The Avengers) is a nice addition as Ka the serpent, and as fans of Her can attest, her breathy voice can indeed be quite hypnotizing. Even the small comic relief animals are well done including the brilliant Gary Shandling in his last film role. Motion capture for non-primates seems like an iffy proposition considering that you’re either forcing the human actors to physically walk on all fours and pretend to be animals, which can be silly, or just copying the direct movements of animal models, which seems redundant then with the technological advances. I don’t know how they did it but it seems like The Jungle Book found a working middle ground that still showcases actor performances.
With a movie that works so well on so many levels, the few faulty areas tend to stand out, and I feel like somewhat of a cad to say that one of the biggest problems is the acting from its child star. I’ll give Sethi some leeway here considering he was never interacting with much more than a giant warehouse of blue screens, which I think we’ve shown doesn’t exactly lend itself toward the best live-acting performances (see: Star Wars prequels). When Sethi is in more action-oriented scenes, like running and jumping and generally being physically mobile, his performance improves. However, when he has to shift to portraying emotions beyond fight-or-flight that is where Sethi has trouble. When he’s playing “happy-go-lucky” early on with his wolf brethren, he’s way too animated in that way that unrestrained child actors can be without a proper anchor to moor their performance. There were moments that made me wince. I see no reason why an actor under ten should be immune to criticism when warranted. We live in an age of amazing child acting performances, notably evidenced by the incredible Jacob Tremblay in Room. We should expect better from our smaller actors. Unfortunately for Sethi, the visual spectacle is so luscious that the one human element sticks out more when he is also delivering a mediocre to poor lead performance.
The other minor detraction for Jungle Book is the inclusion of the two songs that really anyone recalls from the original Disney version, “I Want to Be Like You” and “The Bear Necessities.” I’ll even charitably give “Bear Necessities” a pass as it involves a moment of levity and bonding between Mowgli and Baloo and they’re simply singing to themselves as they relax down the river. It’s also the most famous song and if you think about it the “Hakuna Matata” of its day. “I Want to Be Like You” does not deserve the same consideration. It comes at an awkward time and undercuts the build-up of tension and does nothing short of rip you out of the world of the movie. At this point, we’ve been introduced to the hulking presence of King Louie voiced by Christopher Walken. The giant ape is portrayed like a mafia don and his sit-down with Mowgli has a real menace to it as he wants to provide “protection” for the man club at a price. It’s a moody moment and then this big orangutan starts singing and dancing. The illusion and reality of the movie is broken. At no other point does The Jungle Book come close to breaking its reality and it’s all for such an extraneous moment. There’s nothing conveyed in this song that couldn’t have simply been communicated through speech. Instead, the live-action movie makes a tortured homage to the older Disney source material, and it’s the one major misstep in its approach.
The Jungle Book is a magical movie that actually improves upon its cinematic source material. It’s a visual stunner that is completely transporting and another high-level achievement for the art of modern special effects as well as the proper usage of them in connection with fundamentally good storytelling. Favreau is able to open up a new yet familiar world and allow the viewer a renewed sense of awe. We also get characters that we care about, a strongly grounded sense of emotional stakes, and some thrilling action to go along with the CGI playhouse. I only have a few misgivings with Disney’s new Jungle book and one of those is really a function of its homage to the older Jungle Book. I’ll take the rare step and advise moviegoers to seriously consider seeing this in 3D (I did not). It’s a great visual experience, however, that would only take the movie so far if it wasn’t for Justin Marks screenplay adaptation and Favreua’s skilled direction. Now The Jungle Book can be a great visual experience, a great story, and, simply put, a great movie.
Nate’s Grade: A-
Chef must have been something of a needed break for its star, writer, and director, Jon Favreau. He’s directed three large-scale Hollywood sci-fi mega movies in a row, a long way from Favrieau’s first big break, Swingers, which he wrote for himself. It was time for something a little smaller, quieter, and more personal, and Chef is just the ticket, a familiar but still greatly satisfying slice-of-life movie about a frustrated chef finding his mojo. Favreau plays a famous chef who cracks under the pressure of delivering the same safe food day in and day out. He loses his job after an increasingly hostile Twitter war with a food critic who calls him out for his safety in blandness. This pushes Favreau out of his comfort zone; he starts an independent food truck, bonds with his son, and generally begins to embrace his new invigorating freedom. Don’t see this movie on an empty stomach because it will be torture. The food preparation shots are tantalizing as are the general discussions over the adoration of food, the heavenly feel of a good meal (an aspect that’s even utilized as foreplay in the film). The entire film is stoked by a laid back charm, an amiable camaraderie between Favreau and his cast, so much so that we don’t care when the film sort of stalls. It’s a far lengthier period between Favreau losing job and getting the food truck than necessary, and the ending is abrupt with an almost absurd amount of resolution tie-ups crammed together without additional progression. The characters are likeable enough, funny, and their passions have a way of enveloping the audience, so much so that a fairly predictable plot is excusable. Chef is a lovely little palate cleanser at the start of the summer movie season and an enjoyable excursion. Just fill up before seeing it or else.
Nate’s Grade: B+
Third movies in superhero franchises always seem to be a precarious proposition; X-Men 3, Spider-Man 3, Superman 3, all graveyards of rushed productions, artistic compromises, and general complacency. Usually the third movie is when the hero has what he or she (but mostly he) has built up stripped down. It’s the same case with Iron Man 3, which short of a noisy finale has a surprisingly small amount of actual Iron Man, much like the scant amount of Batman in last year’s The Dark Knight Rises. That’s fine with me because the appeal of this franchise has been Tony Stark the character, not the mechanical heroics. Iron Man 3 is co-written and directed by super Hollywood scribe Shane Black, the man who gave us Lethal Weapon, The Last Boy Scout, The Long Kiss Goodnight, and the 2005 gem that resuscitated Robert Downey Jr.’s career, Kiss Kiss Bang Bang. It was this fact alone, especially after how disappointing Iron Man 2 was, that got me jazzed about a third outing. Black’s characteristic sense of humor, genre blending, and mass appeal thrills helps to make Iron Man 3 an enjoyable if flawed movie-going experience and a suitable kickoff to the summer movie season.
Tony Stark (Downey Jr.) is having trouble sleeping, haunted by the near world-ending events in New York City from his time with the Avengers. Pepper Potts (Gwyneth Paltrow), head of Stark Industries and Tony’s main squeeze, wants her man to take a mental health break. He’s spending as much time as possible in his lab, concocting a whole army of different Iron Man suits. His latest invention allows him to control a suit prototype with his body, compelling pieces of his amour to his person with a wave of his arms. He’ll need the help because the Mandarin (Ben Kingsley), a fearful terrorist leader, is staging a series of bombings around the United States, leaving behind videos taunting his foes. After an attack that hits close to home, Stark challenges the Mandarin and the bad guy brings the fight to the man of iron, decimating his home and forcing Stark to flee. In Tennessee, Stark unravels the mystery behind the Mandarin, which involves a brilliant scientist (Rebecca Hall), a nefarious biotechnology businessman (Guy Pearce), and even the president of the United States himself.
The best part of the first film was watching a brilliant guy become Iron Man; sure the superhero stuff was fun but it wasn’t what made the movie special. Downey Jr. as a charismatic, egotistical, self-involved but ultimately redeemable middle-aged playboy is what made the movie special. With Iron Man 3, he has to rely on his wits for large portions, which are still considerable. It’s a clever way to make a billionaire playboy with out-of-this-world technology empathetic. He’s never going to be an everyman but that doesn’t mean we can’t empathize. With that said, I still find his whole PTSD ordeal after events from The Avengers to be shaky. He’s already had near death experiences before so unless we get a bigger explanation (proof of alien existence and superiority? Knowing a return is inevitable?) I find it hard to fathom that a guy as outwardly unflappable as Tony Stark would be hobbled by his super team-up activities. Also, now that we exist in a post-Avengers universe, wouldn’t the ongoing attacks by the Mandarin warrant some sort of S.H.I.E.L.D. response or monitoring?
Likewise, I really appreciated how Black developed his action sequences, routinely giving Stark limitations. The concept of a suit that can assemble by itself and fly hundreds of miles is silly, sure, but it also opens up fun possibilities and questions of identity. At one point, Stark has one arm and one leg of his suit, allowing him to fight back but having to get creative with his moves. A fight while he’s handcuffed also provides enjoyable thrills. During the home attack, Stark’s suit is a prototype and will not allow him to fly, so he has to get inventive, literally shooting a grand piano at a helicopter. The best action scene is when Iron Man has to save a dozen people from plummeting to their deaths after being sucked out of Air Force One in midair. I wish the solution hadn’t been so quick but it’s a thrilling sequence with terrific aerial photography.
Until the finale, which is all-robot action, you could accuse the film of being too shrift in its action sequences, rarely lasting longer than a few brief minutes. They’re still quite entertaining, and well directed, with Black nicely drawing out organic complications and making good use of geography. We know that Black can write a glorious action sequence, but unless you were one of the lucky souls who saw Kiss Kiss Bang Bang, it’s a surprise that the man can direct one so well. There’s a nice sense of style on display but it never becomes overpowering, and thankfully it’s presented in a manner that you can, shocker, tell what is happening onscreen. Black definitely has a good eye for visuals and scene compositions but he also knows how to deliver great crowd-pleasing moments that we want in our summer movies. The climax is pretty busy with lots of keen Iron Man suits that you just know are there to be purchasable toys first and foremost. The sustained action is pretty involving, and Black is an expert at establishing mini-goals and developing naturally. Even as it starts to devolve into a hectic video game-like frenzy, there are enough changing goals and reversals to keep you satisfied for the long haul.
The movie’s villains are somewhat nebulous and employ an Evil Plot that is too convoluted by half. The Mandarin is an intriguing figure but undergoes some changes that will surely leave fans of the comic steaming mad. I accept that movies are an adaptation from the source material, and have no real personal affinity for Iron Man or his rogues’ gallery, so I wasn’t bothered by the notable change. It fits the tone of the movie as well as becomes another plot point in a convoluted Evil Plot. I will agree with detractors on this point: after the invasion in The Avengers, alien technology, the source of the Mandarin’s powers in the comic, is credible. I don’t really understand the political commentary at play with the Mandarin either. More so, and I’m trying to be delicate with spoilers, Iron Man 3 is really a movie about Tony Stark versus… lava people. Sure they have superhuman brains that provide regeneration and superior human ability. It just seems that all these super humans decide to do is… heat things up. They glow red, melt through walls, and are essentially lava creatures. Apparently Tony Stark needs to take some cues from that old U.S. Marines ad where the guy fights a giant lava monster (“Have you been attacked by a lava monster recently? No? You’re welcome – signed, the Marines”). The villains, while weak, are still probably the best in the series. It’s been a fairly weak franchise for antagonists.
Coming from Black, you’d expect an increase in the implementation of comedy, though Iron Man 3 probably walks just up to the line. It almost gets too jokey but pulls back enough. Adam Pally’s (TV’s criminally underseen Happy Endings) small bit as an obsessed fan of Stark is probably the testing point. Tony Stark has issues sure, especially if Disney will ever let the movies explore his history with alcoholism, but the man is never going to challenge Bruce Wayne for the brooding loner throne. Stark is a quipper, a loudmouth who uses humor as a weapon and a shield, and brought to vivid life by Downey Jr., the man will always be a comedian. That’s not to say that the drama lacks proper seriousness. However, Black pushes a lot more comedy into the film than we’ve seen in the earlier installments. Most of it is welcome and even when the movie goes into mass appeal mode, especially in Act Two when a plucky kid aids Stark, Black covers the familiar without losing his edge. You’ll likely recognize the buddy cop patter from Black’s other movies but it still works. There are several setups that look like we’re getting Big Hero Moments, and then Black decides to undercut them for a good laugh. Iron Man 3’s consistent sense of humor makes the movie feel even faster paced.
Downey Jr. (The Avengers) is still the MVP of the modern Marvel-verse in my eyes, and even two years removed from 50, he’s still got enough energy to power a small army. He’s still pulling the same schtick so to speak, which may wear thin for others after four starring appearances as Tony Stark, but I still find him naturally appealing. Paltrow (Contagion) gets a chance to do more than the standard damsel in distress that the women function in these movies. I regret that after being given a tantalizing new direction the movie reverts her back to standard damsel sidekick so speedily. Ho hum. Kingsley (Hugo) just seemed wrong for the part from the start, never mind the nebulous ethnicity issues. His vocal fluctuations and strange emphasis proved too distracting for me. However, he proves to be a better match after the Mandarin’s twist. Pearce (Lawless) is a pretty solid, smarmy bad guy and man has he got an impressive physique going on. It’s just nice to see great character actors from Hall (The Town) to Miguel Ferrer (Traffic) to Dale Dickey (Winter’s Bone) in a high-profile mega blockbuster. Even little Ty Simpkins (Insidious) is pretty good as the kid who helps out Stark. My tolerance for child acting has gone downhill as I have gotten older, but the kid is genuinely good without falling into the common trappings of being cloying or overly precocious.
Iron Man 3 is a definite improvement over the overstuffed, undernourished 2010 sequel. It ends on a moment that feels like something close to closure, but you know, as the credits helpfully indicate, that Tony Stark will appear again, at least in 2015’s Avengers 2. The bigger question is can this franchise exist without the participation of Downey Jr.? I’m sure we’ll all find out eventually considering the character is too profitable to simply retire once Downey Jr. decides he’s had enough. We’ve had five Batmans after all, not counting Adam West. However, never has a character seemed so intrinsically linked with an actor before. Downey Jr. just is Tony Stark, and while some capable young male lead out there in Hollywood will put up a valiant effort, it will never be the same. Iron Man 3 is further proof that the appeal of the franchise is not the explosions and action set pieces, which it does a fine job with; it’s the man inside the suit and the formidable actor that gives this franchise its juice. Spending more time with Stark is a bonus, and Black’s zippy sense of comedy and acute knowledge of the architecture of popcorn thrills allows the movie to fly by with ease. While the first film reigns supreme, Iron Man 3 is a fitting and pleasurable enough blockbuster that reminds you why we still love this guy.
Nate’s Grade: B
Never as good as a film should be given the talent involved, nor as bad as its detractors might have you believe, Cowboys & Aliens is an entertaining genre mash-up that’s about 60 percent Western, 30 percent alien thriller, and 10 percent naked Olivia Wilde, which is too small a percentage in my opinion. For a solid hour, the movie follows the rhythms of classic Westerns and Daniel Craig has a face vividly made for the Western canvas. The sci-fi elements feel well integrated in small doses, however, when the movie goes all-out intergalactic gun slinging is when the narrative gets swallowed whole by the crude blockbuster nature of this beast. The plot is pretty standard Man with a Dark Past stuff, and can we put a moratorium on people suffering amnesia and choosing to be better people? The characters never really feel real but they feel believably stock for their genre. For a PG-13 movie, the violence can get pretty gruesome, especially in its gooey disembodiment of the alien invaders. You almost feel sorry for these nefarious gold-hoarding (yes, you read that right, the aliens are after our gold – Glen Beck was right!) creatures. The action sequences are a notch above average, the emphasis on practical effects is appreciated, and the movie takes some darkly comic turns, which kept me amused even when the movie’s IQ was dropping at a precipitous rate for the last act. Cowboys & Aliens never pretends to be anything more, or smarter, than its blunt title.
Nate’s Grade: B-
Iron Man was a fresh surprise in the summer of 2008, offering a superhero movie dominated by a middle-aged man’s personality and not the special effects. The story was not overwhelmed by all the demands of what we expect in a glorious summer popcorn experience. Marvel was smart to sign on the same team behind the first film, including director Jon Favreau, but setting a deadline exactly two years after the first film made me worry. There wasn’t much time to get everything together, and it should be no shock that Iron Man 2 feels rushes and absent the finesse of the first film. As much as it pains me to say it, Iron Man 2, while fun in spots, doesn’t come close to the original. You can trace much of it back to the sequel ethos that you take what worked in Part 1, make it much, much bigger and louder, and now you have Part Two. But what worked so exceptionally well in the first Iron Man movie was not the action sequences but the characters, so guess what happens when you pollute the narrative with more characters and disposable action sequences?
Tony Stark (Robert Downey Jr.) is a self-made superhero and now the world knows that he is indeed the metallic warrior, Iron Man. Stark refuses to hand over his technology to the government, saying he has “successfully privatized world peace.” He appoints his girlfriend/loyal assistant Pepper Potts (Gwyneth Paltrow) to CEO so he can devote his time to ridding the world of evil and lapping up the fame that goes with being Iron Man. Lt. Col. James Rhodes (Don Cheadle replacing Terrence Howard) is concerned for his buddy but also eager to help play around with that super suit. But not everybody loves Tony Stark, notably Justin Hammer (Sam Rockwell), a rival weapons dealer aiming for a Pentagon contract, and Ivan Vanko (Mickey Rourke), a Russian scientist who blames his father’s exile from America and Siberian internment on the Stark family. When Hammer sees Vanko’s attack at a Monaco speedway, he knows he has found an ally against Stark. Hammer whisks his newest Russian friend to New York and enlists his expertise in creating an army of super mechanical fighting suits.
The screenplay by actor-turned-writer Justin Theroux (Tropic Thunder) is overstuffed with people and events all fighting for screen time and narrative dominance that it starts to become unintentionally comical after a while. There are too many storylines jostling for control when any one of them could have comprised a whole movie: military demands to have the suit, Tony deals with blowback from being the most famous man in the universe, and escalation (others trying to top Stark). Don’t even get me started on how Iron Man 2 bends over backwards to advertise that future Marvel Avengers movie lead by Nick Fury (Samuel L. Jackson). I mistakenly believed that the trailers ended before my movie started. There’s a storyline where Tony’s blood is becoming infected with a dangerous chemical every time he uses the Iron Man suit, so being a superhero is literally killing him. You can work with that for some pathos, debating the needs of one man vs. the needs of society and the greater good, personal sacrifice, mortality, legacy, but it all gets way too easily resolved in an absurd way (all I’ll say is, thanks Mad Men‘s Roger Sterling!). It tries to up the ante when less would have been considerably more.
Most of the new characters feel poorly integrated, further causing distraction to any attempts at narrative cohesion. Iron Man 2 also pushes Johansson into the mix so that she can shake up the Tony/Pepper relationship and, plus, she looks good in a skintight cat suit. But her third wheel/love triangle status is barely touched upon and Johansson gets one solid action sequence where she takes out a litany of goons in a hallway with the amazing power of her spinning thighs. Johansson is mostly just another assistant to take notes in the background, although she does it beautifully. The Rourke scenes are few and far between. They establish him as an intimidating force and then he pretty much sits in a room tinkering with stuff, garbling Russian, and feeding his cockatiel for the rest of the movie. He never feels like a real threat or a true match for Tony. Rockwell is the more appealing, slimy villain of the duo, aided by Rockwell’s exasperated bellowing and desperation for the spotlight. Hammer is more interesting to me than a Russian ex-con that rarely speaks, let alone speaks in English. He’s given so little opportunity to develop Vanko as a character. And yet Gary Shandling, as a smug senator trying to make Stark accountable to the U.S. military, might be the film’s best villain of the bunch (curious side note: Shandling and Rourke look oddly similar).
The personal relationship between Tony Stark and Pepper Potts was the heart of Iron Man. They had that snappy, droll, screwball comedy-esque give-and-take, with hints of something more underneath. This time, the movie doesn’t even speak about their relationship at all, like it never happened in the first film. That scene where she kisses his Iron Man helmet, tosses it out the belly of a plane, and he dives off uttering, “You complete me”? Not in the film. You start to wonder why the movie is being purposely vague and it gets maddening. Their relationship lacks the frustration tinged with flirtation and replaces it with agitation. Both Tony and Pepper are harried and on each other’s last nerve, which doesn’t make for much romantic traction. Their chemistry seems to have dampened. I’m kind of with Pepper on this one because Tony Stark might be even too obnoxious in this movie. Following the sequel-it is code, Tony’s egotistical behavior is expanded and he becomes prone to self-destructive behavior, getting riskier and riskier, pushing others away including, perhaps, decent portions of the audience. He’s stopped being the cocky, likeable arrogant playboy and transformed into a bit of a rich douchebag. Part of this is related to the storyline about the suit literally killing Tony, and his character’s alcoholism featured heavily in the comic books, but it’s just another plot element that feels like it was put in for momentary conflict and then easily resolved or dropped. I understand Tony will be his biggest antagonist but that didn’t stop the first Iron Man film from flying high in entertainment.
The first Iron Man had an unexpected low level of action for a summer movie, but because of the characters you didn’t care. It was that rare comic book movie where you wanted more dialogue and fewer sound effects. To be fair, Favreau and crew saved a pretty nice Iron Mano y Iron Mano fight sequence at the end. Following that narrative lead, Iron Man 2 is structured pretty much like the first when it comes to action. There’s the attack at the Monaco raceway, which features an unrealistic, cartoonish tone that conflicts with the rest of the flick. But the film’s biggest moment of sustained action is the climax involves Tony Stark versus a bunch of silly killer robots. Soulless robot drones don’t get very compelling, plus haven’t we seen a thousand movies where people combat killer robots? What’s more disappointing is that Favreau incoherently stages the action. It’s not due to any sort of hyperactive editing, no, the culprit is that the onscreen action is just moving way too quickly. As a result, much of the action feels like whooshes of color. It’s hard to adjust your eyes to the rapid movement and process what exactly is going on. Because we can’t follow the action the whole thing lacks tension, danger, and drama. I wanted to be blown away by the action, which has several trailer-ready moments of awesome, but mostly I just wanted to be able to understand what I was watching.
Despite all my complaints, Iron Man 2 still manages to be a fun time out at the movies. Downey is always immensely talented and brings great amounts of energy to the role, centering the movie on his witty charms. While his character is less engaging this go-round, Downey is still on top of his game. Rourke, Rockwell, Paltrow, and Johansson all contribute fine performances when they’re on screen. The low output of Iron Man in suit is compensated by having TWO Iron Men, thanks to Rhodes donning the metal gear and fighting alongside his pal. The opening of this movie captures your interest fairly well, though it loses it again thanks to slack pacing and an influx of new faces. The tone of the movie takes a cue from Downey and the movie as an agreeable, comedic feel without seeming overly glib. And hey, the special effects are pretty nice, too. Iron Man 2 is an adequate popcorn movie but the tragedy of the movie is that the first film was much more than adequate. I think the Iron Man film franchise is in need of a slight upgrade.
Nate’s Grade: C+
\Vince Vaughn is a likable scamp. He’s generally played the same quick-witted, charming, motor-mouth lout in every movie since 2005’s smash, Wedding Crashers. He’s been working fairly nonstop since then and has, by all accounts, become something of a box office draw, which seems bizarre if you think about it long enough. So the best thing I can say about Vaughn’s new comedy Couples Retreat is, hey, at least he’s making sure his pals can pay the bills.
I think it was that famed poet Pat Benatar who said love is a battlefield. She never went through marriage counseling (note: maybe she did, I don’t care to actually research this). The movie centers around four dysfunctional couples that take a vocational to a tropical island resort. Dave (Vaughn) has trouble prioritizing his wife, Ronnie (Malin Akerman). Joey (Jon Favreau) and Lucy (Kristin Davis) have been together ever since she got pregnant in high school. They’re at each other’s throats and secretly looking to cheat on each other. Jason (Jason Bateman) and his way younger wife, Cynthia (Kristen Bell), are unable to conceive a baby. They’re very organized about their life and cannot handle life’s deviations. Finally, Shane (Faizon Love) has been dumped by his wife and is taking the loss hard. He’s found comfort in a flighty twenty-year-old girl (Kali Hawk) that he can barely keep up with. The vacation is interrupted when the couples learn that they must participate in the resort’s relationship therapy sessions or leave. The couples must stick it out to in order to save failing relationships and ride those nifty Jet skis.
Couples Retreat sure doesn’t feel like any vacation for the audience. Directed by Peter “Ralphie” Billingsley (longtime friend and producing partner for Vaughn and Favreau), the pacing is leaden and the movie feels like its coasting without any momentum. Structurally, the plot is not your series of escalating events but more a relentless parade of tiny plot speed bumps, seemingly indistinguishable from the last. Many scenes just bump right into each other with little transition. Billingsley does not show that he comprehends the rhythms of comedy. Even at a mere 107 minutes, this movie felt twice as long to me. Like Peter Jackson’s King Kong, it just takes way too damn long for these people to get to the freaking island. I don’t need a half hour of setup for stock characters. Many scenes will go on too long and then just sort of come to an abrupt end, like Vaughn and his friends were saying, “Well, we’ve taken this as far as we can go. The scenes don’t end in climaxes or revelations or punch lines, they just end. So after a while I felt like Couples Retreat was one long draggy middle of a mediocre movie stretched out interminably. It’s the equivalent of an eternity of waiting in a doctor’s office.
The character work is haphazard at best. You would think with the premise involving introspection and communication that the screenplay might offer up some deeper characters. You would be mistaken. Each character is given one note/generalized conflict to work, and they stay exactly within that narrow field of play. The male-female dynamics are Joey and Lucy have been together since high school and now they each have wandering eyes. Of course this kind of waffling infidelity is played for such sophomoric yuk-yuks like Joey getting caught masturbating and Joey getting an erection during a massage. You see a trend there? Cynthia and Jason are too anal retentive about their lives and the fun has died out. Sounds like room for some comedy. Oh, and they are also having trouble conceiving, which is way too serious a topic for this kind of movie. It’s somewhat amusing to think of Vaughn as the most stable character in a family comedy; it’s sort of like when Christopher Walken was the voice of reason in 2004’s equally bad, Man on Fire. What is Vaughn’s problem exactly anyway? He’s a “video game seller” who spends too much time… selling video games? The particulars of his job are too nebulous; does he work at a large chain, does he work at a software production company, what does he do that he can’t bother helping out his wife for one afternoon? You could almost certainly eliminate Faizon Love’s character completely. He’s just in the movie to crank out obligatory “older guy with too young girl” jokes, and his resolution is so hackneyed and reliant upon ridiculous coincidence (surprise, his ex-wife has tracked him down to the resort!) that it hurts the brain.
The movie has the benefit of being made in one of the most gorgeous places on earth. I’m sure the cast and crew had a great time making this movie. Too bad it doesn’t translate well to the paying customers. I was surprised at how stodgy the overall film is. I expected it to look down on hedonism, and I appreciated the movie treating marriage as a serious commitment that constantly needs to be engaged, but what is up with how stuffy this message comes across? The people who aren’t in relationships are seen as little party animals looking for their next carefree fix. Sure marriage is going to look better to the masses when you make the alternative so irresponsible. However, prolonging unhappy, extremely dysfunctional couples who can no longer stand each other isn’t helping either. Can’t some dysfunctional couples just grow apart? Why must there be reprehensibly forced happy endings all around? Couples Retreat, after awhile, kind of feels like your grandmother lecturing you about your relationships.
There’s much potential for laughs with Couples Retreat, but you’ll do no better than scattered chuckles. This is definitely a case where all the good jokes were highlighted in the trailer. Couples Retreat squanders so much talent, mostly consisting of a boy’s club and giving the actresses little to do or play off of. Akerman (The Heartbreak Kid), Bell (Forgetting Sarah Marshall), and Davis (Sex and the City) are all very capable comedic actresses; Kali Hawk quickly becomes irritating with what she’s been given. The island therapists include the hilarious John Michael Higgins (The Ugly Truth) and Ken Jeong (The Hangover), who must be contractually obligated to appear in every movie this year. I would have thought that eccentric therapists plus the natural conflicts of couples counseling would have provided a wealth of funny material. It’s a shame then that the counseling scenes are kept short. It would be a better asset for this movie if it spent more time in therapy and less time doing goofy, trust building exercises by island guru Jean Reno. Seriously, swimming with sharks is supposed to help a deteriorating marriage how? There are comic setups that look like they’re going to lead to something juicy, and then they just fizzle, like a Guitar Hero battle that goes from silly to lame all too quick. A buff and tan yoga instructor (Carlos Ponce) gets a little too in touchy-feely with his female pupils. But then it stays at a distance, hammering home the same PG-13 safe sight gags. It’s like watching people dry hump for laughs. As I expected, the funniest parts are the naturally combative interplay between Vaughn and Favreau. Part of that may be because they’ve been friends for over a decade and part of that might be that both are credited as screenwriters, along with producer Dana Fox (What Happens in Vegas).
Let’s look at how I’ve described Couples Retreat in this review. Waiting in a doctor?s office. Listening to your grandmother condemn your relationship. Doesn’t sound like much of a good time, does it? The comedy consists of mostly one-liners with a whole lot of dead space in between. The characters are so limited, the actors are shamefully wasted, and the comic set pieces are too meandering to be amusing. Somewhere there’s an edgier, R-rated version of this movie that got scrubbed clean to fit a PG-13 mandate. You see glimpses of the naughtier movie Couples Retreat might have been. This is a movie in need of some serious counseling of its own.
Nate’s Grade: C
A thoroughly genial comedy, I Love You, Man is an easily enjoyable flick that has fun upending romantic comedy tropes. The movie follows Peter (Paul Rudd) and his search for a “bromance,” a heterosexual male friendship that follows similar dating patterns seen in typical romantic comedies. Peter finds his match with Sydney (Jason Segel), a semi-sophisticated slob. Rudd has been a superb smartass in so many movies, which makes it all the more surprising at how incredible awkward he plays Peter. This man seems embarrassed with every breath he takes. It becomes moderately endearing to see him break out due to his male bonding with Sydney; the nice guy comes of age by becoming impolite and vulgar. The plot takes some predictable turns, like when Peter’s fiancé (Rashida Jones) is upset that her man wants to spend more time with his new pal than with her. Rudd is the most charming actor on the planet, which makes it somewhat wasteful to stick him as a straight man in a comedy. Segel takes great advantage of his character’s boorish behavior and is consistently funny. The supporting actors lift their underwritten roles, especially Jon Favreau as an altogether asshole. I Love You, Man banks on plenty of pleasant vibes and amusing performances. It may never be a gut-buster when it comes to laughs and it may not be fully lovable but it’s certainly easy to like.
Nate’s Grade: B