Blockers (nee Cock Blockers, and changed on some posters to appear like Rooster-Shape Blockers) is like getting two fairly funny sex comedies in one. We have the perspective of the panicked parents (Leslie Mann, John Cena, Ike Barinholtz) who are doing whatever they can to thwart their daughters from seeing through their presumed deflowering pact on prom night. We also have the horny teen perspective from the teen girls (Kaitlyn Newton, Geraldine Viswanathan, Gideon Adlon). Each group has their own character arcs and comic set pieces, flunkies and wild supporting characters, and as they criss-cross over the course of one debauched night, lessons will be learned and, more importantly, feel earned. I was steadily impressed with how much Blockers does and does well, chiefly maintaining a sex positive attitude and never supporting the parents in their hysterical, generally sexist alarm. Each parent has to confront their feelings about really letting their daughter grow up, and that relationship leads to a sweet moment for each to acknowledge the error of their ways and grow closer with their child. If this had come out in the 80s or 90s, I’m sure the film would have adopted the parental viewpoint as correct. Hell, if it came out in the 80s, the fact that one of the daughters is gay would have been a source of shock or shame. Today, the father already knows and supports his daughter being a lesbian (he frets she’ll feel pressured to lose her virginity to the wrong sex). Oh, on top of all that, the movie is pretty funny from start to finish thanks to a deep cast of characters. Cena impressed with 2015’s Trainwreck and he shows yet again the promise of his heretofore-untapped comic resources. There is one comic set piece involving blind couple foreplay that feels downright inspired as it develops. Blockers is a raunchy sex comedy with more on its mind than yuks. It’s got a sweet center that allows the characters and their relationships to feel genuine. When you care about the people onscreen, it helps eliminate the sense of downtime.
Nate’s Grade: B
Surprisingly adroit, Mr. Peabody & Sherman might just be more fun for adults, especially fans of the original 1960s cartoon, than for little kids. It’s under the “family film” banner, a dubious one historically, but I was laughing consistently and good, snorting laughs, long chuckles; the whole gamut. With The LEGO Movie, the wide release of The Wind Rises, and now this, 2014 is shaping up to be a stellar year for animation aficionados. The movie between a genius dog and his adopted son is given the right amount of reverence before all the cheeky irreverence through history. The hops through time, notably the French Revolution, ancient Egypt, and the Trojan War, are fast-paced and clever without stooping to provide much context for the jokes; you either get them or you don’t. Even the necessary character building components between father and son are treated smartly, coming together for an ending that approaches poignancy. The plot can get a little complicated toward the end, what with opening a space-time paradox, but I respect the movie for being complex and tricky and scientific and trusting its audience to play along. The animation looks a little scruffy compared to other big screen efforts, but the script just flat-out works. The comedy, the drama, the relationships, but especially the comedy. If you’re on the fence, please, do yourself a favor, and go see Mr. Peabody & Sherman, especially if you appreciate history and those who love it. I saw it with my father and we both laughed ourselves silly. Needless to say, this blows 2000’s Adventures of Rocky and Bullwinkle out of the water.
Nate’s Grade: A-
In the five years since 2007’s comedy smash, Knocked Up, writer/director Judd Apatow has ascended to heights in Hollywood that few ever achieve. And while his disappointing 2009 film Funny People may have been an example of the man flying too close to the sun (let’s mix metaphors, why not?), he’s had a stable career guiding mostly hit comedies to big numbers, particularly last year’s Bridesmaids. For Apatow’s next directing effort, he picks up a handful of supporting characters from Knocked Up and gives them their own spotlight. This is 40 is Apatow’s “sort-of sequel.” It may seem familiar in tone and style to his previous efforts, but there’s one big difference between this film and Apatow’s previous works. This movie never feels like it goes anywhere. Even Funny People went somewhere even if I disliked it.
Five years after the events of Knocked Up, Peter (Paul Rudd) and Debbie (Leslie Mann) are struggling to keep their household afloat and sane. Their daughters, Sadie and Charlotte, (played by Apatow’s real daughters, Maude and Iris), are constantly fighting, Debbie’s worried one of her employees is stealing from her business, and Pete’s trying to save his record company without alerting his family to his panic. Pete has put all his efforts into promoting a new album from 1970s rocker Graham Parker, but really he’s fighting a losing battle against mainstream taste. Pete has also been secretly loaning out money to his no-good father (Albert Brooks), while Debbie has been trying to reconnect with her distant biological father (John Lithgow). Weirdly enough, both fathers have started secondary families and have broods of young children. As Debbie and Pete both approach the big 4-0, both of them make resolutions to better themselves, renew their family bonding, and reignite the spark in their romance. Of course, after two kids and several years of marriage tallied, it’s easier said than done.
The Apatow films have always had their own loping rhythm to them, an easygoing quality that isn’t as directed by plot as character. So when I say that This is 40 feels rather aimless, I want readers to recognize that this goes beyond the normal loosely plotted Apatow affairs. Usually his movies have defined events to direct the overall trajectory of the plot; a baby on the way, losing one’s virginity, etc. I’m hard pressed to say what exactly is the direction of This is 40. It’s about the ups and downs of a married couple, but there isn’t necessarily any definable conflict. They’re sort of in a malaise and internalizing their unhappiness, but the movie is the sum total of many small conflicts that never seem to congeal. As a result, the movie feels like it’s often coasting, going beat-for-beat until something new takes it on a mild diversion. It’s a movie of diversions without a unifying path. Sure the couple becomes, presumably, stronger by the end of the film, but I can’t say what’s taken place to explain this progression. The movie plays out like a series of loosely connected scenes. I enjoyed myself, and found the movie often amusing, but I kept wondering what it was amounting to. It was never enough of a niggling concern to stop from being entertaining, but when it was done, I thought to myself that I just watched Apatow’s friends hang out for two hours and call it a movie.
There’s also the issue of indicating this is a sequel to Knocked Up or at least exists within the same universe. There’s very little continuity between the two films other than Pete and Debbie’s family. Jason Segel (The Muppets) and Charlyne Yi (Paper Heart) make reappearances playing characters with the same names, but they don’t seem like the same characters (though the gyno doc is the same – hooray). My major sticking point is the complete absence of the stars of Knocked Up, Ben (Seth Rogen) and Alison (Katherine Heigl). Now I wasn’t expecting a drawn out cameo from these two, especially after Heigl publicly badmouthed Apatow and the movie that made her a star. I did expect some passing reference, even something as small as, “Ben and Alison are looking at schools for their daughter.” I just wanted something to feel satisfied. Where this becomes a problem is that I’m fairly certain that Ben and Alison would be attending several of these major social events for their family members. They make a big deal about Pete’s 40th birthday party, so why wouldn’t Ben and Alison be there? And with her litany of marital woes, wouldn’t Debbie seek out, you know, her sister to talk with, the same sister she hung out with all the time in Knocked Up? Apatow might as well have just given everyone a new name if this was as sequel-y as This is 40 was daring to go.
Part of my lukewarm reception to the film is likely my lack of empathy with the problems of the main characters. Good storytelling should allow anyone to be able to empathize with characters dissimilar to themselves. I found many of the problems in This is 40 to be the stuff of rich fantasy. Pete is worried his record company, that he started, might not make it. He’s also been secretly giving his mooch of a father $80,000 (!) over the years. Maybe these people could stand to cut back and live within their means. Their house is huge, downright opulent, and it seems like Pete has wasted plenty of money on needless expenditures, which his own employees eventually point out at work. Did they need a big 40th birthday bash? Do their kids need every expensive gadget? When they take a vacation, does it need to be in a lavish hotel along the beach? I found too many of these complaints to be whiny and indulgent. That’s not to say that there aren’t serious relationship problems that are given thoughtful attention. This is 40 is arguably Apatow’s most mature and reflective film yet, though that might be faint praise to some. I would rather the movie spent more time focusing on the relatable concerns of a relationship crumbling rather than the stress of possibly having to move from a super-rich house to a merely somewhat rich house.
And yet the movie is routinely funny and charming, thanks to the Apatow standards of cast camaraderie, character, and the mixture of raunch with sweetness. I like these characters and so I enjoy spending time with them, and even if I feel like we’re not going anywhere fast, I don’t mind that much. I’ll gladly spend two plus hours with these funny people and their mid-life crises comic follies, at least once. The characters are well drawn and played by capable comic players that can do their Apatow jazz deal, finding peculiar riffs to work and squeeze out mirth. I thought a discussion over the appeal of being a widower and the fantasy of a spouse’s untimely demise to be quite funny as well as a topic generally unspoken (“This is the mother of your children we’re talking about. You want her to go peacefully.”). Rudd (Wanderlust) and Mann (The Change-Up) are terrific together and entirely convincing as a longstanding couple, people who know the ins and outs of one another. It’s fascinating just to watch the nuts and bolts of a relationship that is still a battle; it also helps when you like both participants and find that they each have valid points. Though I cannot fathom how hiding impending financial doom is a smart move.
Apatow does a fine job of making sure the dramatic parts do not overweigh the film, usually settling things with a nicely punctuated joke or pop-culture critique (oddly enough, TV’s LOST becomes a major reoccurring gag, though you expect a bit more of a comedic payoff when they get to the controversial finale). I’m not sure that many people are going to know who Graham Parker is, but here he is folks. There are a lot of Apatow players peopled throughout, like Chris O’Dowd (Bridesmaids), Lena Dunham (TV’s Girls), and Melissa McCarthy (Bridesmaids), making fine work with minimal screen time. You’ll recognize other familiar faces as well. Occasionally the jokes feel like they go on too long, catching the downward slope of an overstayed improv riff, but I was laughing throughout and enjoyed the unpredictable nature scene to scene. You’ll likely predict the outcomes for certain storylines and conflicts, since Apatow is a sucker for the squishy ending, but you’ll feel like it got there on its own relative terms. It’s not exactly a happy ending but it’s a less unhappy ending.
There are plenty of supporting actors that shine in this movie, though I feel that I need to single out the great Albert Brooks (Drive). He plays such a passive-aggressive, manipulative, mooch of a father, but he does it in a way that almost wins you over, how straightforward he is with his bad behavior. When Pete tells him he cannot loan any more money, Brooks blithely, almost cheerily, theorizes that murdering some of his recent kids can solve this problem. He marches out, gets a hose, and asks the kids to volunteer who wants to be murdered. It’s scenes like this that manage to be funny but also cutting to a dramatic truth that the film hovers around, occasionally hitting the bullseye. Megan Fox (Transformers) is also enjoyable as a, what else, vivacious employee men are falling all over themselves for. And even Apatow’s own kids give rather strong performances, now playing actual characters rather than scene-stealers. Maude, the oldest, has a lot of dramatic scenes as the teenager daughter coming to grips with hormones and her crazy parents. The Apatow clan might just get some outside work after people see dad’s movie.
While I doubt Apatow has made any sort of definitive statement on what it means to approach four decades worth of life (and poop jokes), This is 40 is a perceptive and enjoyable movie even if it feels like a collection of scenes. Good thing I like these characters and enjoy spending time with them, otherwise I might find this whole film to be a bit aimless and self-indulgent. Seriously, how many scenes are there going to be of people singing along to music? This is 40 has enough going for it, be it comedy or some insightful dramatic moments, though it keeps an audience a bit removed due to the unrelatable nature of their posh problems. If there’s a This is 50 in the works, next time get me some more Rogen time. I’d rather watch him deal with raising a teenage girl in the age of social media. You don’t have to know anything about Knocked Up to follow along with This is 40, but then again, if you haven’t seen Knocked Up, just go watch that movie instead. Trust me.
Nate’s Grade: B
The gorgeously animated stop-motion film ParaNorman is a terrific sight for the eyes. There’s a certain magic to stop-motion, the tangible nature of it all, the knowledge that these intricate worlds actually existed. Like Coraline, the previous film by the same animation house, I thoroughly enjoyed immersing myself in this handcrafted world. The animation is so fluid, so sprightly, and displays a rich artistic tone. The story, about a kid who can see ghosts, is noticeably less ambitious. The characters are a tad one-dimensional (bratty older sister, dimwitted jock, socially awkward chubby best friend, etc.) and the plot is fairly predictable, but what really elevates ParaNorman is its sense of humor. I was laughing heartily throughout the movie, not just a giggle or a chortle but good, solid laughs. ParaNorman has an irreverent sense of humor with some surprisingly adult-oriented gags (nothing to worry about parents). With these virtues, the movie becomes an entertaining horror comedy aimed at young teens and older adults. It’s a fun movie, short of a saggy second act, and the animation is aces.
Nate’s Grade: B