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.