Quick Takes: "Horrible Bosses" and "Bad Teacher"

Jason Bateman has the remarkable gift of being immensely likable in everything he does, capable of buoying mediocre material with his irresistible charm. I just love the guy, and that is precisely why I tolerated Horrible Bosses. Seth Gordon's raunchy comedy about three frustrated employees (Bateman, Jason Sudeikis, Charlie Day) who hatch a plan to kill their three demonic bosses has an inspired premise, but it fails to capitalize on its potential. There are some funny moments, and the movie is pretty entertaining throughout, but it suffers from a disheartening wealth of missed opportunities. Horrible Bosses is not as funny as it should be, nor is it as daring as it should be, considering the dark and ambitious premise. But the film stays afloat thanks to Mr. Bateman, a supremely talented and affable performer who always excels, regardless of the quality of material that he is given. Horrible Bosses does feature some terrific supporting performances, most notably from Jason Sudeikis of Saturday Night Live fame, Jamie Foxx as a strange ex-con, and from the three evil bosses (Jennifer Aniston, Kevin Spacey, Colin Farrell). Aniston's portrayal of a sex-obsessed dentist is particularly amusing. But it is Bateman who saves the day, maintaining consistent entertainment value in a film that could have been a bigger success.

And then there is Bad Teacher, a mean-spirited and surprisingly dull disappointment that tries to create an endearing figure out of a wholly unlikable character. At least I think that's what Bad Teacher is trying to do. It's all part of the aggravating ambiguity of this misguided comedy. The cast, for the most part, is not the prolem. The lovely Cameron Diaz gives it her all, but she can't make a likable character out of an alcoholic gold digger of a teacher who drills kids with dodgeballs and tells insecure boys that they have no shot of winning over the pretty girl. The always hilarious Jason Segel delivers some of the movie's only big laughs as a single gym teacher with a crush on Cameron Diaz. John Michael Higgins, Phyllis Smith, Lucy Punch, and Eric Stonestreet all give admirable efforts with characters that are thinly conceived. The usually reliable Justin Timberlake, however, is grating as a shockingly clueless teacher who has no intellect whatsoever. And did I mention that there is a lengthy dry-humping scene? Bad Teacher is a letdown from director Jake Kasdan, who directed the very funny 2002 film, Orange County.

The Romanticism of the Past, and the Insecurities of the Present: "Midnight in Paris"

He is an ageless wonder, that Woody Allen. His words have an unmistakable allure, purely conversational yet remarkably poignant and full of insight and wisdom. His words are at once funny and sad, hopeful and pessimistic. Thus, the words of Woody Allen affirm the inconsistent adventure that is life. No matter your current mood, there is a remedy for your maladies in the films of Woody Allen. A filmmaker as prolific as Mr. Allen is bound to make some regrettable movies over the course of his career, and surely Mr. Allen has. Ultimately, however, the filmography of the 75-year-old virtuoso features a stunning array of towering achievements, movies that span genres and style. While his latest endeavor, Midnight in Paris, is not quite in the same class as Allen's finest work (Hannah and Her Sisters; Crimes and Misdemeanors; Annie Hall; Match Point), it is still a magical and engaging marvel.

The vast majority of Mr. Allen's movies have taken place in New York City, but in recent years he has shown a fondness for Europe. Both settings are perfect for the sexiness and romanticism of Woody Allen's films. As he did in Match Point and Vicky Cristina Barcelona, Allen uses the astonishing beauty of Europe to magnificent effect. The opening montage of Midnight in Paris features gorgeous shots of the City of Lights, and by the end of the film I wanted to get up and move to Paris immediately. But visual wonder is not the only redeeming quality of this terrific movie. Once again, Woody Allen skillfully weaves themes of romance, cynicism, self-doubt, and hope. And in Midnight in Paris, he blends in a little bit of fantasy as well. The plot centers on a significant flight of fancy, a surprise that will not be mentioned in this review. However, I will reveal that it involves the likes of Hemingway and Faulkner, Picasso and Dali. The imagination of Midnight in Paris is at first slightly jarring, but the movie quickly grips you in its pull.

The execution of Woody Allen's brilliant screenplays always rests in the hands of his actors, and as always, the actors deliver in Midnight in Paris. The always excellent Owen Wilson gives the best performance of his career in the lead role as Gil Pender, a disillusioned writer from Beverly Hills whose nostalgia and love for Paris instills in him a desire to move to Paris, much to the chagrin of his pampered fiancee, played beautifully by the beautiful and supremely talented Rachel McAdams. Wilson is the perfect choice to play a Woody Allen leading man. Wilson portrays Gil as a handsome and charming man who is nonetheless unsatisfied and driven by his affinity for the past, where in his mind, things were so much easier, so much more romantic. It is a terrific performance. Here's hoping that Mr. Wilson and Mr. Allen collaborate again soon. The lovely Marion Cotillard is also outstanding. Much like Ms. McAdams, Ms. Cotillard is a tremendous actress who never hits a false note. Other superb supporting work is turned in by the great Kathy Bates, Michael Sheen, French First Lady Carla Bruni, and Corey Stoll as a certain famous author.

Midnight in Paris isn't perfect, but it is a richly satisfying reminder of Woody Allen's brilliance. Much like Clint Eastwood, Woody Allen is not hindered by age. He remains a compelling cinematic force, and his work demands to be seen. While millions of Americans flock to the theaters this summer to see robots exploding and zoo animals talking, I hope they also find time to seek out Midnight in Paris, a delectable summer treat by one of America's greatest filmmakers.

The Hilarity and Emotions of Friendship and Love: "Bridesmaids"

Bridesmaids is just about the most satisfying movie of the year, an uproariously funny and surprisingly moving delight that will send even the most curmudgeonly of individuals into a gleeful state of happiness. Here is a movie that will make you laugh endlessly and soothe your worries. Here is a movie that manages the remarkable feat of balancing raunchy comedy with authentic, powerful emotion. First and foremost, Bridesmaids is a wonderfully funny hard-R comedy that delivers some of the biggest laughs of any movie in recent memory. But the movie is also impressive in its flawless and involving foray into the emotions of friendship and love. For all of its rollicking fun and riotous hilarity, Bridesmaids always feels genuine and warm-hearted. Simply put, the film is a smashing success.

Kristen Wiig, of Saturday Night Live fame, stars as Annie, appointed by her best friend Lillian (Maya Rudolph) to be the maid of honor at Lillian's upcoming wedding. Annie, newly single and insecure after a rough break-up with her ex-boyfriend, is nonetheless excited to help Lillian lead the organization and planning of the wedding. Annie's insecurities are exacerbated, however, when her friendship with Lillian is jeopardized by the selfish behavior of fellow bridesmaid Helen (Rose Byrne), a pompous and wealthy friend of Lillian's who actively seeks to replace Annie as Lillian's best friend. The rivalry between Annie and Helen instills in Annie a sense of loss and anger toward Helen. Furthermore, Helen's antics and Annie's burgeoning frustration tarnish the preparations for Lillian's wedding. The mishaps that ensue make for magnificent scenes of comic perfection.

Bridesmaids features a tremendous cast, and the film's M.V.P. is Kristen Wiig. Wiig, who also co-wrote the brilliant screenplay with Annie Mumulo, is a revelation in the lead role. Wiig, who has always been very funny on SNL, delivers a performance that is simultaneously hilarious and heartfelt, fearless and vulnerable. It is a sensational piece of acting, and it establishes Wiig as a superb, versatile performer on screen. I can't wait to see what she does next. In addition to Ms. Wiig, terrific performances are given by Melissa McCarthy, Rose Byrne, Maya Rudolph, Jon Hamm, Ellie Kemper, Chris O'Dowd, and Jill Clayburgh. McCarthy and Hamm are particularly excellent. Ms. McCarthy is responsible for some of the movie's biggest laughs as a socially awkward and somewhat aggressive bridesmaid with no inhibitions, and Mr. Hamm is very funny in his portrayal of an egotistical sleazebag.

The world of mainstream cinematic comedy has been crowded with too much testosterone in recent years. Movies like The Hangover; I Love You, Man; and Dinner for Schmucks, albeit funny and entertaining, are striking in their lack of leading female characters, and the trend in Hollywood comedies was starting to run the risk of misogyny. Thus, Bridesmaids is a welcome breath of fresh air. The women rule in this movie, and memo to the males: Bridesmaids is better than anything the guys have created. Smart, poignant, and hysterically funny, Bridesmaids is likely to go down as a classic. I love this movie.

Selling All Possessions With the Hope of a Better Tomorrow: "Everything Must Go"

Will Ferrell has always been a brilliant force in the comedy ranks, a delightfully goofy performer who brings a magnetic appeal to his frequent variations on the man-child persona. In his latest film, however, Mr. Ferrell is a long way from Ron Burgundy. In Everything Must Go, Will Ferrell establishes himself as an astonishing dramatic actor. Ferrell delivered a nuanced performance in the underrated 2005 film Stranger Than Fiction, and his work in Everything Must Go is simply stunning. Much like Robin Williams, Bill Murray, and Jim Carrey, Will Ferrell has flawlessly transitioned from comedy to drama, and the results are extraordinary.

Mr. Ferrell deserves an Oscar nomination for his graceful portrayal of Nick Halsey, a decent man with a good heart who is nonetheless plagued with a destructive alcoholism that wreaks havoc on his life. The film opens with Nick being informed by his sleazy boss that the company has decided to let Nick go. Nick is devastated, and when he arrives home later that evening, he discovers all of his possessions scattered across his front lawn. All of his personal items are accompanied by a note from his wife, informing him that she has left him. His wife has changed the locks, and Nick has no access to his home. The tragic turn of events forces Nick into a malaise of depression and alcoholism, and he spends his nights sleeping uncomfortably on his front lawn. One day, however, Nick takes the advice of a friend and starts a yard sale. It is painful for Nick to part ways with his possessions, but he proceeds with the yard sale in an effort to break with the past and start anew. Nick employs the help of a charming youngster in the neighborhood who helps him organize the yard sale, and the two form a friendship that is essential in helping Nick persevere through immense emotional hardship. Nick also gets to know his new neighbor across the street, and his conversations with her prove to be deeply cathartic. The amazing Rebecca Hall is wonderful as the woman who helps Nick reassemble his life, and young Christopher Jordan Wallace is exemplary as Nick's partner-in-crime.

My description of the plot does not do the movie justice. Many movies have delved into the themes of loss and emotional tumult, but very few movies have treated these themes as intelligently or as poignantly as Everything Must Go. The film, based on a Raymond Carver short story and beautifully written and directed by Dan Rush, is always grounded in authentic emotion. The film is profound and powerful.

And at the center of this excellent movie is Will Ferrell. Ferrell nails the role of Nick Halsey with such moving perfection that it is hard to believe he hasn't appeared in more dramatic roles. It is a truly magnificent piece of acting, and it comes in the best movie I have seen so far this year.

The Battle Between Conventional CGI and Inspired Charm: "Thor"

Thor, the latest blockbuster superhero endeavor to reach the big screen, has a witty charm and lighthearted nature that conjures memories of the terrific Iron Man franchise. What prevents Thor from achieving the same quality as the Iron Man films, however, is a frustrating amount of formulaic limitations. More specifically, Thor suffers from sensory overload, special effects that are indeed eye-catching but ultimately unsatisfying. The movie is at its best when it relies on the dazzling chemistry between Chris Hemsworth and Natalie Portman. In these moments, Thor is simultaneously enchanting and funny, entertaining and transcendent. But when the film veers into the realm of galactic CGI, it loses its charm.

Let's start with the positives: The aforementioned Mr. Hemsworth and Ms. Portman are wonderful together. Mr. Hemsworth is a hunky charmer, an ideal choice for the title character. Ms. Portman, one of the world's most magnificent actors, is sexy and confident. The screen crackles with an irresistible energy every time Portman and Hemsworth share the spotlight. The remaining members of the cast, including the great Anthony Hopkins, take themselves far too seriously. Portman and Hemsworth are the only two actors who come across as easygoing and relaxed, and the movie capitalizes on their vibrant rapport with scenes of exhilarating romance and humor. Thor would be something close to great if director Kenneth Branagh and the team of three screenwriters focused more intently on the charisma of Ms. Portman and Mr. Hemsworth.


Unfortunately, Thor succumbs to the temptation of CGI, CGI, and more CGI. The special effects are undeniably remarkable, and the viewer is viscerally awed upon first exposure to the planet Asgard, a place filled with visual wonder. But eventually, Asgard loses its pull. I became increasingly annoyed with the bloated amount of time devoted to generic battle sequences and interminable scenes featuring creepy-looking ice people. Thor rejuvenates the viewer when it returns to the beautiful setting of New Mexico, but Asgard takes up far too much of the film's 114 minutes.



Is Thor worth seeing? I say, hesitantly, yes. The scenes set in New Mexico between Mr. Hemsworth and Ms. Portman are superbly acted and wildly entertaining. The entertainment value of this portion of the movie is significant enough to make amends for the been-there-done-that feel of Asgard. Still, there is something irritating about the continuation of the CGI phenomenon at the expense of genuine human drama.

Living Vicariously Through the Canine: "Best in Show"

This is part of a recurring series in which I review some of my all-time favorite movies.




Let me commence this review with a personal admission: I am not a dog lover. I like the idea of dogs in theory, but when I am in their presence, I dissolve into a nervous wreck. There is just something about their relentlessly upbeat energy that I mistake for threatening aggression. My irrational fear of dogs is one of my many eccentricities, and that is why I relate so closely to the wacky cast of characters in Christopher Guest's Best in Show. Unlike me, the group of neurotic charmers in Best in Show have an unabashed love for all things canine-related. They live, breathe, and bleed dog. To say that these people treat their dogs like their children is an understatement. But you see, I understand their neurosis. We are all in one way or another eccentric, and that is why the movies of Christopher Guest are always so hysterically funny and endearing, all at the same time. Sure, Christopher Guest has a blast poking fun at the dog show extravaganzas and all of the people who partake in the spectacle of dog shows, but his comic aim is never mean-spirited. We laugh at the weirdness of the characters in Best in Show, but only because that weirdness is so jarringly human and sweet. The filmmakers behind the cruelly unfunny Scary Movie franchise should take note: It is possible to make a hilarious spoof without tearing people down in the process.

Guest is the King of Mockumentary, and he is responsible for some of the greatest comedies ever made. Every one of his films (A Mighty Wind and Waiting for Guffman to name a couple) are brilliant delights. Best in Show, though, is his best. The laughs come faster than a Usain Bolt sprint. The aforementioned cast of characters are portrayed by an all-star cavalcade of Chris Guest regulars. Catherine O'Hara is a promiscuous owner of a Norwich terrier named Winky. O'Hara's husband is played by Eugene Levy (who co-wrote the flawless screenplay with Guest). Levy's performance as a socially awkward, loyal husband who literally has two left feet is simply priceless. O'Hara and Levy have a tremendous rapport that produces enormous laughs. The same can be said of Parker Posey and Michael Hitchcock, who gleefully portray a pompous rich couple worried that their dog has been emotionally scarred after the dog witnessed them having sex. Michael McKean and John Michael Higgins are also magnificent as the gay couple who are proud owners of their Shih Tzu. Jennifer Coolidge, Bob Balaban, Jane Lynch, and Jim Piddock all bring the funny in supporting roles. The biggest laughs of the movie, however, come courtesy of the great Fred Willard. Willard, who improvised all of his dialogue, is a comedic genius who should have received an Oscar nomination for his uproarious performance as a clueless Best in Show television commentator who knows absolutely nothing about dogs.

My review does not do the movie justice. Best in Show is so funny that it has the capability to eradicate international conflict and initiate world peace. You should go see it right now. In fact, what are you doing reading this review? Best in Show is the type of comedy that demands to be seen. It is also the type of comedy with a winning heart. There is not a mean-spirited second in the 90-minutes that constitute Best in Show. At its core, this movie, like all of Mr. Guest's mockumentaries, is a celebration of eccentricity. Thus, watching Best in Show is a cathartic experience, a soothing exercise that makes us learn to appreciate our own oddities. And did I mention that it's funny?

Proof that Great Romantic Comedies Do Exist: "Jerry Maguire"

This is part of a recurring series in which I review some of my all-time favorite movies.

In many ways, Cameron Crowe's Jerry Maguire served as my introduction to the movies, and not just because my five-year-old self had an eerie resemblance to six-year-old Jonathan Lipnicki. This is the film that cultivated my love for cinema. In an era in which so many romantic comedies come dead on arrival, Jerry Maguire is a cinematic miracle that to this day continues to instill in the viewer a warm sense of nostalgia. Jerry Maguire is a deeply moving and wonderfully entertaining love story that is simply impossible to resist. Even the most misanthropic and cynical of people will swoon over this movie, the most impressive entry in Cameron Crowe's accomplished filmography.

Tom Cruise stars as Jerry Maguire, a highly successful sports agent who becomes disillusioned with the materialistic nature of his profession. When he writes an essay expressing his dissonance about the sports management industry, he draws the ire of his bosses, and is suddenly fired. The firing deals Jerry a major psychological blow, and he sinks into a dispassionate malaise. One of his co-workers, however, admires Jerry's courage and ambition and decides to quit the company to help Jerry embark on a new professional endeavor. She is Dorothy (Renee Zelwegger), a single mother of one, and the two quickly fall in love. Along with the help of Dorothy, her adorable young son (the aforementioned Jonathan Lipnicki), and his ebullient star client (Cuba Gooding, Jr.), Jerry attempts to alleviate the stress that has permeated his life in the aftermath of his dismissal at Sports Management International.

The previous paragraph is an extremely brief overview of the plot that may make the movie sound overly maudlin, predictable, and sentimental. Jerry Maguire is anything but. Cameron Crowe's terrific screenplay and his beautifully focused direction ensures that "Jerry Maguire" is always grounded in true, honest emotion. Jerry Maguire explores the familiar themes of love and perseverance in profoundly affecting ways, and the result is something close to perfection. Crowe is also buoyed by the excellence of his actors. Tom Cruise has been a media pariah in recent years, but his performance in Jerry Maguire reminds us that he really is an extraordinary actor. In Jerry Maguire, Cruise is the epitome of a movie star, delivering a performance of suave charm and deep emotion. It is the best work of his career, and that is saying something. The wonderful Renee Zelwegger matches Cruise every step of the way. Zelwegger exudes the type of irresistible enchantment that shows why she is such a talented and versatile actor. And Cuba Gooding, Jr. is magnificent in an unforgettable performance that won him an Oscar.

Jerry Maguire is often most easily associated with the catchphrase, "Show Me the Money!". But that line of dialogue is just one of the many great moments in this truly outstanding movie. In 1996, I fell in love with the movies. I have Cameron Crowe to thank.