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.