About Time

© 2013 Ray Wong

At first glance (and as the trailers would tell us), About Time is a romance with a time-traveling twist. In reality, it is really a love story — and not just about romantic love. It is a fable about love and life in general.

After his 21st birthday, Tim (Domhnall Gleeson) gets the surprise news of his life from his father (Bill Nighy): all the men in their family have the ability to time travel. While most men in his family tended to misuse the super power (for money, for fame, etc.), Dad has found the secret, but he wants Tim to figure it out for himself. For Tim, everything has always been about love.

Tim eventually moves to London to start a new life as an adult, and he meets beautiful and kind Mary (Rachel McAdams). When he accidentally erases Mary from his life because he used his time travel to help his friend Harry (Tom Hollander), Tim time-travels again to fix his misfortune. While Tim succeeds in getting Mary back and their lives on track again, he discovers that his time traveling has consequences; and that he cannot make someone fall in love with him, and that he cannot fix all his problems. As Dad is dying from cancer, Dad delivers one last advice to Tim on the secret of happiness.

Domhnall Gleeson (Anna Karenina) is quite a chameleon as an actor. As Levin in Anna Karenina, Gleeson was handsome and rugged at the love-sick farmer. As Tim, however, Gleeson looks incredibly young (playing a 21-year-old, no less), naive and — once again — love struck. Gleeson has an ease to his performance, exuding a nervous, shy and uncertain lad who, with a little bit of practice, can achieve great things. Gleeson’s non-nonsense performance is the reason why we like Tim so much to follow his bizarre journey through time and life.

This is the second time Rachel McAdams (Passion) appears in a “time traveling” love story, and this time it is a much lighter role as the object of Tim’s affection. McAdams excels in being the sweet girl next door, and her chemistry with Gleeson is just right to pull off the relationship, which can sometimes seem a bit thin. Bill Nighy (The World’s End) is fantastic as Dad — a whimsical, humorous and yet warm and lovely family man.

The supporting cast is strong with Lydia Wilson (Never Let Me Go) as Tim’s free-sprit sister, Lindsay Duncan (Last Passenger) as Tim’s strong and resilient mother, and Tom Hollander (The Invisible Woman) as a self-absorbed, narcissistic playwright.

Written and directed by Richard Curtis (War Horse), the film definitely has a light, whimsical fable feel to it. Even the characters seem to be more quirky than usual. Curtis decides to keep the story focused on love itself (as “time traveling” stories can go in so many different directions). The result is somewhat unbelievable at first (who, while processing the ability of time traveling, would not at least try to get a better job or a tip in the stock market?) But once we suspend the disbelief, the story gains on us.

It’s not to say the plot and characters are without their conventional and trite trappings. There are some rather blatant cliches; and plot holes are all but inevitable in a story about “time traveling.”  For example, one of the rules is that one cannot travel past the birth of a child, and yet at one point, Tim and his father travel to a time before his sister was born (or any of his own children). Such inconsistency, however, does not mar the general quality of the story, which really isn’t about time traveling anyway.

In fact, time traveling becomes almost a metaphor, as Tim continues to learn and understand what life and love mean to him. I think that’s the sweetest thing about this movie — it has a very sweet, almost innocent look at life and love, and I find that rather refreshing in today’s cynical world. And that may be the film’s biggest flaw — just not cynical and bitter enough for today’s audiences. For me, it’s about time we have something so pure and fun, sometimes almost magical.

Stars: Domhnall Gleeson, Rachel McAdams, Bill Nighy, Lydia Wilson, Lindsay Duncan, Richard Cordery, Tom Hollander, Margot Robbie
Director: Richard Curtis
Writers: Richard Curtis
Distributor: Universal
MPAA Rating: R for language, sexual content
Running Time: 123 minutes

Ratings:

Script - 7
Performance - 8
Direction - 7
Cinematography - 8
Music/Sound - 8
Editing - 8
Production - 7

Total - 7.7 out of 10.0 

Don Jon

© 2013 Ray Wong

Joseph Gordon-Levitt has, over the years, matured as an actor and a thinking-woman's sex symbol. Now with his writing and directorial debut, he has grown as a filmmaker as well.

Jon (Joseph Gordon-Levitt), known as Don Jon to his friend, is your regular good guy. Typical for his Italian heritage, Jon is devoted to his life, his family, his church, and his friends. He is also quite a player, and is addicted to pornography. Even though he has no trouble hooking up with beautiful women, he could only "lose himself" with porn. Yet when he meets sexy, beautiful Barbara (Scarlett Johansson), he realizes that he could fall in love and everything could change.

Well, not quite. Even though he really adores Barbara, he is not convinced that anything has changed. Also Barbara wants Jon to improve himself, so he enrolls in adult classes. His friends are puzzled by his changes, but his parents are delighted that Jon is finally settling down. And yet Jon doesn't seem all that happy after all. He is still often angry; and he is still addicted to porn. Only now he is more secretive about it as Barbara forbids him.

At his class, he meets an older woman named Esther (Julianne Moore) who seems to have a crush for Jon. Annoyed by her approach, he tries to avoid her but somehow finds her mysterious and alluring at the same time. Meanwhile at home, his relationship with Barbara explodes when she discovers that he has been lying about watching porn.

Joseph Gordon-Levitt (Loopers) is a solid actor who has been stuck with lighter roles until recently. He wrote, directed and acted in this movie so it seems that he has complete control of the character and the story, and it shows. His acting is confident, natural (if not a bit overly aggressive), and sexy. Scarlett Johansson (The Avengers) also plays against type as the sexy, manipulative Barbara. Together they make a good pair and play off each other nicely.

Julianne Moore (Being Flynn) also turns in a great performance as Esther, the lonesome "strange" classmate who has a crush on Jon. Moore's subtlety gives the character an extra layer of truth that slowly reveals how the character plays a role in Jon's life. The supporting cast does their job effectively. Tony Danza (Crash) is somewhat over the top as Jon's hot-tempered father. Glenne Headly (The Joneses) is delightful as Jon's mother, and Brie Larson (Short Term 12) has only two lines but delivers them with amazing insight.

Gordon-Levitt's screenplay is quirky (it reminds me of (500) Days of Summer, also starring Gordon-Levitt himself), bald and raunchy. He doesn't shy away from the bald theme of sex, which earns the film a much deserved R rating. Granted, his version of the "straight male" is somewhat cliched and stereotypical: Don Jon is all machismo. There is no subtlety in that characterization; fortunately Gordon-Levitt gives the character a softer, more boyish inner core -- that this man just want to love and be loved like everybody else. The dialogue can be somewhat stiff and blunt, and the introduction of Esther seems forced. However, this being his first screenplay I find it rather well done. It is short and to the point, and often amusing.

His direction is also blunt and to the point. The style is very contemporary and non-apologetic. He uses repetition to depict Jon's inner self and the symbolism is well placed. The pacing is great and the tone is right. The film does get somewhat somber and serious near the end that seems slightly out of sync with the rest, but soon it picks up again.

Gordon-Levitt first filmmaking effort pays off. Although not on a grand scale, this should further establish him as a solid filmmaker and an emerging force in young Hollywood, which is in dire need for fresh breaths.

Stars: Joseph Gordon-Levitt, Scarlett Johansson, Julianne Moore, Tony Danza, Glenne Headly, Brie Larson, Rob Brown, Jeremy Luke
Director: Joseph Gordon-Levitt
Writer: Joseph Gordon-Levitt
Distributor: Relativity Media
MPAA Rating: R for strong graphic sexual material, dialogue, language and drug use
Running Time: 90 minutes

Ratings:

Script - 7
Performance - 8
Direction - 7
Cinematography - 8
Music/Sound - 7
Editing - 7
Production - 7

Total - 7.7 out of 10.0 

Silver Linings Playbook

© 2012 Ray Wong

The crowd-pleasing feel good movie of the year has arrived, and it's aptly called Silver Linings Playbook. Based on Matthew Quick's popular novel, the movie touches on the wide spectrum of emotions with quirky but likable characters, albeit being predictable and contrived at times.

Pat (Bradley Cooper) has been in a mental hospital because of a plea bargain following a mental breakdown that resulted in him almost killing a fellow teacher in an outburst of rage. It happens that Pat's wife had been cheating on him with said teacher. Pat finally snapped, and was promptly diagnosed as being bipolar. After eight months, Pat's mother (Jacki Weaver) has had enough so she asks the court to release Pat, and she takes Pat under her wings since Pat has lost his job, his house, and his wife.

Living under his parents' roof again and trying to adjust back to real life has not been easy for Pat. He tries to do his best, and he's going to therapy, but he also makes a conscientious choice to win his wife back, who has since moved on. Meanwhile, his best friend Ronnie (John Ortiz) tries to set him up with his sister-in-law Tiffany (Jennifer Lawrence), who recently became a widow when her cop husband was killed in a freak accident while trying to be a good Samaritan. Tiffany is going through a lot herself, and she was fired from her job by sleeping with 11 people at her workplace.

Pat is instantly attracted to Tiffany, but mentally he is trying very hard to resist and avoid her because his mind is set on winning his wife back. Tiffany, who has access to Pat's wife, agrees to help Pat if only he would do something for her in return. Meanwhile, Pat is trying to reconnect with his father by engaging in one of the few passions they share: The Philadelphia Eagles. Pat's long and strange road of recovery hinges on how well he connects with his family, friends and Tiffany.

Bradley Cooper (The Words) has risen to leading man status relatively quickly based on his Sexiest Man Alive good looks and crowd-pleasing materials he's been presented with such as the Hangover series. However, Cooper has yet to prove his acting chops which is strange since he came from theater. With the character of Pat in Silver Linings Playbook, I think Cooper has finally found his groove. Despite his good looks, Cooper is perfect as the mentally unbalanced man who struggles to find himself. He's shown a good range in his finely tuned performance.

Likewise, Jennifer Lawrence (The Hunger Games) has risen to stardom relatively quickly since her breakout performance in Winter's Bone. Here, she shows a different side which I think is more in line with the actress's true identity than her character in The Hunger Games. She and Bradley Cooper have great chemistry together despite their age difference, and that is key to the success of this movie.

The supporting characters are hilarious but great. Robert De Niro (Being Flynn) nails it in one of his most affecting roles in recent years. In truth, his character is no less neurotic than his bipolar son, and through that hard Italian shell you can see how much he loves his son. That's great acting. Jacki Weaver (The Five-Year Engagement) is wonderfully understated and subtle as Pat's doting mother. John Ortiz (Public Enemies) is fantastic as Pat's best friend, and Julia Stiles (Between Us) is suitably uptight as his wife and Tiffany's sister. Chris Tucker (Rush Hour), however, stands out like a sore thumb among the other seasoned actors. Mr. Tucker has a great presence, but his acting is a bit rusty (and his role seems irrelevant as far as the story is concerned).

Written and directed by David O. Russell (The Fighter), the screenplay adheres to the book's themes and arcs but also deviates from them, and that's a good thing. For example, it plays up the relationship between Pat and his father, and that's a welcome change. Russell himself deviates from his past efforts, too but manages to stay close to his root at the same time. While Silver Linings Playbook is a romantic comedy of sorts and features some outrageously funny characters and situations, it doesn't stray far from the working class characters, grit, and nuances of The Fighter or Three Kings. The writing is sharp, witty and insightful, if at times frantic and somewhat chaotic. But Russell has done a great job developing the characters while moving the plot along without relying too much on stereotypes or shortcuts. There are subtleties in the writing and direction that it may take a second or third viewing to notice.

That said, the direction can be somewhat frantic at times. Given the frantic nature of the characters, I think the director gets a bit too involved, and as a result, some scenes become too frantic and lack the needed objectivity or some narrative distance. Also, the concept of the ballroom dancing competition and the ending are somewhat contrived and predictable. It veers towards the mainstream which is at odds with the premise and first half of the story, where everything seems so fresh and unusual and original. In comparison, the ending simply feels overdone and too crowd pleasing, if not for the two leads who bring down the house with their affecting chemistry and performances.

There's been a lot of Oscar buzz surrounding Silver Linings Playbook, and I can understand why. It's a roaring, feel-good dramedy about broken people who have serious personality flaws. It's a crowd pleaser. It is very funny. And it has very touching moments as well. And the leads have done marvelously. Still, I think if we take a step back, we will start to see the cracks. It's not a perfect film but boy will you have a great time watching it. That itself is a silver lining.

Stars: Bradley Cooper, Jennifer Lawrence, Robert De Niro, Jacki Weaver, Chris Tucker, Anupam Kher, John Ortiz, Julia Stiles
Director: David O. Russell
Writers: David O. Russell (based on novel by Matthew Quick)
Distributor: Weinstein Company
MPAA Rating:  R for language, sexual content and nudity
Running Time: 122 minutes 

Ratings:

Script - 7
Performance - 8
Direction - 8
Cinematography - 8
Music/Sound - 8
Editing - 7
Production - 8

Total - 7.9 out of 10.0 

Ruby Sparks

© 2012 Ray Wong

Movies about writers usually come in a few flavors: love-sick writers (Neverland), crazy writers (Secret Window), or geniuses (Wonder Boys). The protagonist of Ruby Sparks happens to be all of the above.

Calvin Weir-Fields (Paul Dano) is a boy wonder, having written a best-selling masterpiece at age 19. He is also haunted and stuck with his early success, not being able to write anything that matches his debut in 10 years. Now 29, creatively blocked and living on his loyalties and occasional speaking engagements, Calvin is a recluse. He's also ended a tumultuous 5-year relationship with fellow writer Lila (Deborah Ann Woll) and is emotionally unavailable. He's trying to sort out his life with the help of psychologist Dr. Rosenthal (Elliott Gould). 

Things start to change when Calvin dreams about a perfect woman named Ruby Sparks (Zoe Kazan). Inspired by his dreams, Calvin begins to write about Ruby, and realizes that he's falling in love with his protagonist. His brother Harry (Chris Messina), however, chastises him for being unrealistic, even in his fictional world, for a perfect woman like Ruby doesn't exist. Soon, however, Ruby shows up at Calvin's apartment and insists that they're in a relationship. Calvin believes he has finally lost his mind.

When he realizes Ruby is real (other people can see her, too), he becomes ecstatic and baffled. Not only has he created a real person out of pure imagination -- it is magic; that's the only explanation Calvin can give -- she is everything he ever wanted. Smart, sweet, spunky, beautiful, emotionally available. However, as their relationship continues and deepens, problems begin to arise. When Calvin realizes Ruby is losing interest and may leave him, he become desperate. That is, until he realizes he can make Ruby do anything he wants, because he created her!

Paul Dano (Being Flynn) is perfect as Calvin, a pale, scrawny, young but reclusive boy-genius writer. Physically Dano embodies the character wonderfully, but there's so much more to Dano's performance that brings the character to life. He's absolutely convincing as a complicated, genius writer who still prefers to write on a typewriter. Dano has a penchant for playing unconventional, quirky, deeply flawed and complicated characters, and he's struck gold again with Calvin.

Zoe Kazan (It's Complicated), who also wrote the screenplay, is not quite the normal "dream girl." While cute, she is not gorgeous. She's smart, but not a genius. She's affectionate, but not clingy. In another word, she's everything that Calvin would want because she is not threatening and she adores him. Kazan portrays the character with an earnestness that defies the conventional idea of what a "dream girl" should be -- she is absolutely what Calvin Weir-Fields would consider a dream girl.

The supporting cast is rather good, too. Chris Messina (Like Crazy), who plays Calvin's happily married brother, is the complete opposite of Dano. It takes a little time to get used to the idea that he is playing Dano's brother, not best friend, but once we accept that fact, their chemistry leaps off the screen. It works. Annette Bening (The Kids Are All Right) is wonderful, as usual, as Calvin's mother. Antonio Banderas (Haywire) has a small role as Bening's live-in lover. Steve Coogan (Darkwood Manor) is superbly smarmy  as Calvin's agent, and Deborah Ann Woll (True Blood) has a brief but intense role as Calvin's ex Lila.

Zoe Kazan's given us a whimsical yet dark fantasy, as well as a witty romantic comedy and a disturbing love story. As a writer, Kazan understands the craziness that happens inside a writer's mind, and the god complex as the sole creator of worlds and characters that become "real." What is interesting is that Kazan also has a keen observation about the matter of love. One of the themes is "what is reality?" From Harry's point of view, Ruby isn't real, even though she appears in as flesh and blood. To Calvin, she is, but in reality, Ruby is total fabricated version of a woman, not a real person. Kazan explores that theme but does not answer it directly.

There are many interesting and humorous moments that warrant a chuckle or two, but as a comedy, the material never quite lifts off. Then the story takes a dark and serious turn, and the movie feels like a different one. The tone is uneven. That's why "dramedies" are difficult to do well -- it's all about the delicate balance between humor and seriousness. Ruby Sparks isn't funny enough as a comedy -- it's whimsical, all right -- but gets a bit too moody and serious for the lighthearted audience.

Maybe the reason is that there are two directors at the helm? Jonathan Dayton (Little Miss Sunshine) and Valerie Faris (Little Miss Sunshine) have done a good job with this project, but their co-direction falls a bit short of their past efforts. The pacing seems off at times. Again, the tone is uneven, but I blame that on the screenplay and not the direction.

Ruby Sparks is an interesting mix of drama, comedy and fantasy. It reminds me of another writer-related fantasy, Stranger than Fiction, in which a writer's character discovers that he's only a figment of someone's imagination. In a way, Ruby Sparks is more focused and less fanciful. And that may be the reason why it lacks just enough sparks to make it a true gem.

Stars: Paul Dano, Zoe Kazan, Chris Messina, Annette Bening, Antonio Banderas, Aasif Mandvi, Steve Coogan, Deborah Ann Woll, Elliott Gould

Directors: Jonathan Dayton, Valerie Faris

Writer: Zoe Kazan

Distributor: Fox Searchlight

MPAA Rating:  R for language, sexual references and some drug use

Running Time: 104 minutes 

Ratings:

Script - 8

Performance - 7

Direction - 7

Cinematography - 7

Music/Sound - 8

Editing - 7

Production - 7

Total - 7.3 out of 10.0 

Hysteria

© 2012 Ray Wong

What you do get when you add Victorian England, stiff upper lips, and vaginal massage? Okay, that probably sounds like a pornography, but what we get is a comedy about the birth of the vibrator.

Dr. Mortimer Granville (Hugh Dancy) is a progressive physician who is fed up with old school medicine. He wants to help people, but with science and the latest medical technologies. He soon find a post as an assistant to Dr. Dalrymple (Jonathan Pryce), who specializes in women medicine, in particular treating a condition called Hysteria. The way Dr. Dalrymple, and later Dr. Granville, treats these patients -- by digitally stimulating the vulva -- would seem outlandishly salacious today, but back then, it's normal.

Granville then meets Dalrymple's two daughters: the lovely yet conventional and demure Emily (Felicity Jones) and firecracker Charlotte (Maggie Gyllenhaal). Granville falls for Emily immediately as she represents everything that woman should be: smart, kind, sweet, supportive; meanwhile, he finds Charlotte fascinating as she is bold, passionate and altruistic -- in many ways, she is like Granville himself. While Emily is equally smitten with handsome Granville, Charlotte dismisses him as yet another man who wants an easy, privileged life.

Soon, though, Granville professional life is threatened when hand cramps prevent him from performing his treatments. Dalrymple fires him. But soon, Granville gets an inspiration from his best friend Edmund St. John-Smythe, (Rupert Everett) a "confirmed bachelor" who enjoys science and technologies. It looks like Granville has found a solution to his problem when he is toying with a electro-mechanical feather-duster… thus born the electro-mechanical massager!

Hugh Dancy (Our Idiot Brother) is rather charming as Granville, and he fits the period role very well. While his character is somewhat bland, Dancy makes him believable and likable. Maggie Gyllenhaal (Nanny McPhee Returns) is over the top as brash Charlotte. Her British accent is fine, but still it distracts us from her performance. That's usually the problem when we see an American actor playing British (with the exception of Meryl Streep, who can do no wrong). It's really not Gyllenhaal's fault.

Jonathan Pryce (G.I. Joe: The Rise of Cobra) seems to have a good time playing the dashing but conservative Dr. Dalrymple. It's quite hilarious when we see him first demonstrating to the befuddled Granville the "treatment." Kudos to Pryce for keeping his face straight. Felicity Jones (Like Crazy) is lovely and sweet as Emily, and she does a fine job with the character. Ashley Jenson (Nativity!) fits the role of Fannie, while Sheridan Smith (How to Stop Being a Loser) has a ball (so to speak) playing the naughty maid, Molly. But the standout here is Rupert Everett (Stardust), who plays St. John-Smythe with grace and excellent humor.

Written by first-time scribes Stephen and Jonah Dyer, the screenplay successfully conveys the essence of a  light-hearted romantic comedy. The juxtaposition against the Victorian time period is actually quite brilliant, in many ways channeling Oscar Wilde. Unfortunately, the Dyers also rely too much on tropes and stereotypes and cliches. The main characters are all caricatures, or at least predictable. Don't get me wrong, they are rather endearing, but it's because they are such standard archetypes. Except for the main premise -- which I do think is brilliant -- there isn't much that is surprising or amusing.

The dialogue is standard. The plot moves along just fine. But the characters simply feel cliched and superficial, their relationships contrived and predictable. There's no question where the romance is going, and who Granville will fall for and choose. There's no question what Granville will do in the name of love. There's no question about the outcome at the end. Therefore, the value of the story lies in the journey itself. While there are moments of genuine fun and laughter, the plot also is predictable. Also, the modern sentiments and social attitudes seem somewhat out of place within the context and setting -- granted, it's a comedy made in 2012. Still, one could easily ask: "Do people in that time period really act that way?"

Director Tanya Wexler (Finding North) does a good job bringing the elements together to make a handsome Victorian comedy. The locations are great, and the production strong. Still, there's this nagging feeling that we're watching a handsome episode of the Masterpiece Theater. Not that there's anything wrong with it, but I think Wexler is playing it a bit too safe.

I did enjoy the movie and find it amusing over all. The premise is fantastic, but the romantic comedy a bit lacking in originality. It would have been more interesting if the movie further explores the social and moral ramification of the "device." It simply falls short in that aspect. Otherwise, I think it might have been a true hysteria!

Stars: Hugh Dancy, Maggie Gyllenhaal, Jonathan Pryce, Felicity Jones, Rupert Everett, Ashley Jenson, Sheridan Smith

Director: Tanya Wexler

Writers: Stephen Dyer, Jonah Lisa Dyer

Distributor: Sony Picture Classics

MPAA Rating: R for sexual content

Running Time: 100 minutes 

Ratings:

Script - 7

Performance - 7

Direction - 7

Cinematography - 8

Music/Sound - 7

Editing - 7

Production - 8

Total - 7.3 out of 10.0 

The Five-Year Enagement

© 2012 Ray Wong

Jason Segel is like the male version of Kristen Wiig: he can write, act, and produce. Solid comedies, too. After the success of The Muppets, Segel follows with a romantic comedy starring himself (of course) opposite effervescent Emily Blunt.

Tom (Jason Segel) and Violet (Emily) practically fall in love with each other the moment they meet at a New Year's Eve party in San Francisco. One year later, Tom proposes and Violet accepts, despite their family's objection that they haven't known each other long enough. Then Violet gets a faculty position in Michigan. Driven by love, Tom agrees to quit his job as head chef and moves with Violet.

Violet's ambition and academic schedule make it necessary for them to postpone their nuptial for two years. During that time, Violet's career advances nicely, while Tom stumbles and ends up working at a local deli. Tom begins to brew resentment but he refuses to talk about it with Violet, who is too self-absorbed and focused on her career that she hardly notices Tom is depressed.

The two-year wait turns into five when Violet's job gets extended. Tom's depression begins to get out of control, and Violet begins to doubt their compatibility. Their rocky relationship gives both of them reasons to wander, and before long they realize their engagement is nothing more an excuse so they can avoid the inevitable.

Jason Segel (The Muppets) has proven himself to the Average-Joe comedic leading man. Handsome and charming, Segel is also approachable and relatable. Segel handles the complicated character, Tom, very well, going from totally lovestruck to messed up, while holding onto our sympathy. His character's passive-aggressive nature could be grating at times -- get some balls already. But in the name of love, we forgive him. Emily Blunt (Salmon Fishing in the Yemen) is lovely and radiant and wonderful as Violet, the love of Tom's life. Violet is a bit more straightforward than Tom -- she is a bit more self-centered and ambitious and she has her reservation about Tom all along. Thus her character is less evolved until the end when she realizes what love really means.

The supporting cast does their job rather nicely as well. Chris Pratt (Moneyball) plays Tom's bratty best friend with enough charisma that we can't help but love the jerk. As his wife (and Violet's sister), Alison Brie (Scream 4) is hilarious. Her "Elmo" scene with Emily Blunt is one of the highlights of the movie. Rhys Ifans (Anonymous) is dashing and smart, with a dash of slime, as Violet's boss.

Written by Segel and writer-director Nicholas Stoller (Get Him to the Greek), the screenplay can be funny at times and a drab at others. I like the fact that they stay true to the characters and make them very human and likable, albeit rather screwed up. It's just that as their engagement gets longer and longer, our patience grows shorter and shorter, and there are not enough jokes (some of them nicely gross and raunchy, just not enough) to fill in the gaps. We know where their relationship is heading, right off the bat, so the journey can seem excruciatingly slow (at 124 minutes, the movie can be trimmed substantially).

The best part of the story is the characters. We come to care about them as they struggle through their lives and relationships. However, there are some outrageous moments and plot elements that are clearly for comedy, and for me, they cheapens the movie. Yes, I understand this is a comedy, but at the core, it's a romance, and we need to believe in these character to truly feel for them.

Stoller's direction also needs more finesse. Parts of the movie feel clunky, both in production and editing. The pacing is off at places, and the middle drags. I think half an hour could have been trimmed without losing anything significant. The tone is also uneven: at times somber and serious, and at times outrageous and raunchy. Don't get me wrong, I did laugh. I just think as a movie, it lacks cohesion.

I think Segel has great ideas and in time he can make something seriously entertaining and insightful, but he is still missing the mark somehow. Give him some time, though, and he can mature as a formidable force of comedy (like what Wiig has achieved with Bridesmaids or Tina Fey with Mean Girls). Just don't make us wait five years.

Stars: Jason Segel, Emily Blunt, Chris Pratt, Alison Brie, Rhys Ifans, Mindy Kaling, Randall Park, Kevin Hart, Lauren Weedman, Mimi Kennedy, David Paymer

Director: Nicholas Stoller

Writers: Jason Segel, Nicholas Stoller

Distributor: Universal

MPAA Rating: R for sexual content, nudity

Running Time: 124 minutes 

Ratings:

Script - 7

Performance - 7

Direction - 7

Cinematography - 7

Music/Sound - 6

Editing - 6

Production - 7

Total - 6.7 out of 10.0 

Damsels in Distress

© 2012 Ray Wong

Clearly influenced by Marc Webb's 2009 sleeper hit (500) Days of Summer, Whit Stillman wrote and directed Damsels in Distress, a light romantic comedy set in fictional Seven Oaks College.

Violet (Greta Gerwig), Heather (Carrie MacLemore) and Rose (Megalyn Echikunwoke) are three college roommates who have a mission: to save people from depression, grunge and low standards of every kind. They make friends with transfer student Lily (Analeigh Tipton), whom they determine is likely to fall pray to a "classically handsome guy" who will break her heart.

According to Violet, the true way to gain happiness is to be independent and to have a relationship with man who is in every way inferior. That's why she's dating Frank (Ryan Metcalf), a frat boy who is not particularly handsome or smart. But Frank breaks her heart anyway. Violet becomes depressed herself, but she refuses to get help from her fellow friends.

Meanwhile, as predicted, Lily falls for her handsome Catholic friend Xavier (Hugo Becker) while handsome Charlie (Adam Brody) also pursues her. After Lily chooses Xavier, Violet pursues Charlie and realizes they have so much in common. Despite her own advice, Violet finds herself falling for the "classically handsome man" who is in every way not inferior to her. Is her doomed for another heartache, or will she find happiness?

Greta Gerwig (Arthur) is quickly becoming Hollywood's new It Girl, and I can see why. As Violet, she beautifully handles the character's complexity, smug superiority complex as well as her vulnerability. There is something very endearing about Gerwig in every character she plays. Analeigh Tipton's (Crazy, Stupid Love) career also is taking off with a few high profile movies under her belt. As Lily -- Violet's protégé and at-times romantic rival -- Tipton is sweet and innocent and then she's not. Very interesting.

Carrie MacLemore (Gossip Girl) is a bit one-note as Heather, although she is so cute that you rather forgive her "safe" performance and bland character. Megalyn Echikunwoke (Who Do You Love) fares better as the sarcastic Rose, but her fake British accent is a bit distracting. The boys (or "Distress" in this case) generally give good performances in support of the girls.  Ryan Metcalf (Fighting Fish) has the moronic frat boy down perfectly. French actor Hugo Becker (Gossip Girl) is dashing and somewhat creepy as Xavier, and Adam Brody (Scream 4) is charismatic as Charlie, the object of desire for both Violet and Lily.

Writer-Director Whit Stillman (The Last Days of Disco) has taken an episodic approach in telling this story. There really isn't a plot, or an arc. Mostly it's just about this group of eclectic characters meandering through college life and the minefield of young love. Much of the "plot" deals with the revolving door of their relationships, and how their perceptions and beliefs are challenged and changed. I find that kind of storytelling rather refreshing, and the characters are mostly endearing without being overtly quirky (Napoleon Dynamite, I am looking at you).

That said, the writing seems uneven. At times witty, insightful and bookishly delicious, and at times dull, contrived and pointless. The story also seems underdeveloped, as if the writer had run out of time. I have to struggle to find some deeper meanings in this story, or maybe I am looking too hard. It could very well be just a cute movie about some characters. Still, when you write a thematic comedy like this, you have to deliver certain deeper messages than just being cute and entertaining. I am not sure if Stillman achieved that.

Also, the direction seems amateurish. Perhaps that's the intended charm. But I find it distracting. For example, what's with the soft-glow filter? To me, that's just tacky. And the music is very amateurish (and not likely intentional as in Juno), sounding like an After School Special. The editing is choppy as well. Needless to say, I am not impressed. Perhaps I am missing something…

Still, I find Damsels in Distress mostly endearing and funny, and I laughed out loud a few times. I specially enjoyed the sarcasm and wit of the dialogue, and some of the interesting philosophical musings. As a movie though, it falls short to be a cult classic, but I guess it's not something to be distressed about.

Stars: Greta Gerwig, Carrie MacLemore, Megalyn Echikunwoke, Analeigh Tipton, Ryan Metcalf, Hugo Becker, Adam Brody

Director: Whit Stillman

Writer: Whit Stillman

Distributor: Lionsgate

MPAA Rating: PG-13 for mature thematic content, sexual material

Running Time: 99 minutes 

Ratings:

Script - 7

Performance - 7

Direction - 6

Cinematography - 6

Music/Sound - 5

Editing - 6

Production - 7

Total - 6.7 out of 10.0 

Friends with Kids

© 2012 Ray Wong

Writer-director-actor Jennifer Westfeldt broke out with her indie favorite Kissing Jessica Stein, a off-kilter gay comedy (which was a strange choice considering she is straight, being in a relationship with co-star Jon Hamm). This time, Westfeldt goes mainstream this time with Friends with Kids, a comedy about straight couples and their children.

Jason (Adam Scott) and Julie (Jennifer Westfeldt) are best friends who are not at all attracted to each other (so there is no romantic possibility between them). Jason is a serial dater, while Julie is waiting for "the one." After watching their married friends Ben (Jon Hamm) and Missy (Kristen Wiig) as well as Leslie (Maya Rudolph) and Alex (Chris O'Dowd) plunge into misery after having kids, Jason and Julie decide the only sane way of having kids without killing the romance is by having kids with your best friend (with whom you're not romantically involved).

So, despite their friends' objection, they decide to go for it. They both want kids, but still haven't found their "persons" yet. Julie's biological clock is ticking and Jason thinks it would be a good idea for him to be a father. To their delight, their plan works, and they are able to maintain their friendship, continue to date other people, and raise a boy together.

Then things get complicated. Sharing custody with Jason day in and day out makes Julie feel something for Jason that she's never felt before. Knowing that Jason doesn't feel the same way, she brushes the feelings away, believing she's just lonely. She starts to date again and meets a wonderful dreamboat named Kurt (Edward Burns), while Jason believes he's met "the one" in Mary Jane (Megan Fox), a beautiful Broadway dancer. Their romantic and domestic arrangements start to wreak havoc with their lives and friendship.

As an actress, Jennifer Westfeldt (24) is somewhat stiff as Julie. Perhaps it's the writing (although she wrote the part for herself), her character never really quite takes off. Her personality is rather on the passive, unconfident side, so it's harder for the audience to engage. It's not until near the end that Westfeldt shows some spunk and gumption after being jilted. As her counterpart, Adam Scott (Our Idiot Brother) has a bit more fun playing the "player." He manages to show the character's charm, gentle and loving side as well as his clueless, romantically challenged personality. That said, Westfeldt and Scott have great chemistry together and you really can believe that they belong together.

While the leads do a respectable job with their roles, the supporting cast boasts a strong comedic ensemble that would make any producer jealous, including four Bridesmaids alumni: Kristen Wiig, Maya Rudolph, Chris O'Dowd and Jon Hamm. This time, Hamm and Wiig play an estranged couple (and they look great together) while Rudolph and O'Dowd play a loving couple who is coping with their chaotic parenting life. These performances are all great, making it evident that they simply don't have enough screen time. The movie would have been so much funnier if it was about these two couples instead. Megan Fox (Jonah Hex) and Edward Burns (Man on the Ledge) join the cast as Jason's and Julie's love interests respectively.

Westfeldt explores broad themes in this romantic comedy: friendship, parenthood, unrequited love, loyalty, and unconventional families. By and large, she succeeds in weaving these themes together in a coherent and often humorous plot without hitting us on the head with them. Still, as a comedy, the story takes some predictable and "easy" routes. The situations sometimes seem contrived (I rather have some difficulty believing in the basic premise of two best "straight" friends having a baby together) and stereotypical (does parenthood have to be either utterly miserable or a bliss?).

Still, Westfeldt's dialogue is sharp and insightful; the plot is coherent and amusing; and the messages are sincere. Despite the focus being on Jason and Julie, the other characters are nicely drawn and realistic. The pacing is brisk with enough humor and wit. While the plot and ending are predictable, we come to expect that -- it is, after all, a feel-good romantic comedy.

Its inherent flaws and shortcomings notwithstanding, Friends with Kids is a gentle, humorous look at parenthood, friendship and love. It is an earnest story, and I wouldn't mind watching it with friends.


Stars: Jennifer Westfeldt, Adam Scott, Jon Hamm, Kristen Wiig, Maya Rudolph, Chris O'Dowd, Megan Fox, Edward Burns
Director: Jennifer Westfeldt
Writers: Jennifer Westfeldt
Distributor: Roadside Attractions
MPAA Rating: R for sexual content and language
Running Time: 107 minutes

Ratings:


Script - 7
Performance - 7
Direction - 7
Cinematography - 7
Music/Sound - 7
Editing - 7
Production - 7


Total - 7.0 out of 10.0

This Means War

© 2012 Ray Wong

A action-packed romantic comedy about spies? That's not a new idea. There was a funny flick called Mr. & Mrs. Smith, and before that was a gem called True Lies. Ideas are a dime a dozen, of course, and it's all in the writing and execution. This Means War fails on that front.

FDR (Chris Pine) and Tuck (Tom Hardy) are two field FBI agents who, after a botched operation in Hong Kong, are demoted to the "office" until they can locate a criminal named Heinrich (Til Schweiger). Tuck, while divorced, decides to check out a dating site. Meanwhile, single and miserable Lauren (Reese Witherspoon) is convinced by her best friend Trish (Chelsea Handler) to check out the same dating site. Lauren is instantly attracted to Tuck, and they decide to meet for a date.

Nervous about the prospect, Tuck asks FDR to help bail him out if the date goes sour. Fortunately, Tuck and Lauren hit it off immediately. And unfortunately for Tuck, after their date Lauren also bumps into FDR, who (without knowing she is Tuck's date) pursues immediately. When Tuck and FDR realizes they're dating the same woman, they vow to compete "like two gentlemen." Of course, as the dating game progresses, there's nothing "gentlemanly" as the two best friends break all the rules to beat each other.

Reese Witherspoon (Water for Elephant) has had some misfires lately, and was sorely miscast in Water for Elephant. Here, she fits the role rather nicely, but I can't help but wonder if the role is miswritten. Her character simply stands out like a sore thumb in this otherwise funny buddy movie.

The guys have a much better time being best friends/rivals and savvy spies. Chris Pine (Unstoppable) is slick and charming as the player who falls for a regular girl (more on that later). Pine has enough cockiness and charisma to pull that off. Tom Hardy (Warrior) tries his hands in comedy with good results. As the earnest-to-a-fault divorced father, Hardy is cool and stoic, a great contrast to Pine. And the two actors share some impressive chemistry.

And that may be the problem. Written by Timothy Dowling (Role Models) and Simon Kinberg (Sherlock Holmes), the story is pretty dark good as a bromance. The two leading male characters and friendship/rivalry are developed. They are believable, and their relationship makes sense. And the action fits that plot very well. However, the romance throws the whole thing off balance. The character of Lauren is underwritten, and the situations and romance between her and the two men are contrived and forced. I am left with the confusion why these two men are so hung up on her (what's so special about her?) and would risk their friendship for her. The conceit is that these two men compete just for competition's sake… but I'm not convinced.

The problem is that the character development is heavy on the guys, but the plot is heavy on the guy-girl-guy love triangle, which happens to be the weakest part. We spend much of the movie with them trying to outsmart each other while wooing Lauren, but the relationships with Lauren are poorly developed -- they feel like plot device instead of real relationships. You have a feeling that men wrote the screenplay… ah, well, two guys did write it.

McG (Terminator Salvation) took a much needed break after his last disaster, and he chose wisely with such a light-hearted romantic action-comedy. His direction is nicely paced and slick, and the film is well produced. Surely there is some cheese and typical action sequences that are outrageous but still fun to watch. It is during the romantic scenes that McG seems to be somewhat lost. He can't rise above the material.

This Means War is entertaining, of course. That's the point, isn't it? Still, given the weak writing and the weak relationships between the female and male leads (and it's a romantic comedy), we realize how important character development is. What made Mr & Mrs. Smith or True Lies great wasn't that they were action-packed romantic comedies, but they had great characters and realistic relationships. Not quite here. And that means FAIL.

Stars: Reese Witherspoon, Chris Pine, Tom Hardy, Til Schweiger, Chelsea Handler
Director: McG
Writers: Timothy Dowling, Simon Kinberg
Distributor: Twentieth Century Fox
MPAA Rating: R for some sexual content
Running Time: 98 minutes

Ratings:


Script - 6
Performance - 7
Direction - 6
Cinematography - 7
Music/Sound - 7
Editing - 7
Production - 7


Total - 6.7 out of 10.0

Crazy, Stupid, Love

© 2011 Ray Wong



When it comes to love, I think all of us can attest that it is indeed crazy and stupid, one of the most perplexed, inexplicable and complicated things in life. Steve Carell's latest romantic comedy, Crazy, Stupid, Love, gives that topic another spin.

Cal (Steve Carell) and Emily (Julianne Moore) are getting a divorce. Emily confesses of having slept with her coworker David Lindhagen (Kevin Bacon) because she feels she and Cal have drifted apart. Cal immediately becomes withdrawn and self-pitying. A stranger at a bar, Jacob (Ryan Gosling), comes to the rescue. Jacob is a master womanizer, and he agrees to help Cal comes to his senses and rediscover his "manhood" so his wife will realize how sorry she is for cheating on him.

Meanwhile, Cal is trying to manage his relationship with his two young children Robbie (Jonah Bobo) and Molly (Joey King). Robbie is a pubescent boy in love with his 17-year-old babysitter Jessica (Analeigh Tipton), who is in love with Cal. And Emily is trying to sort out her feelings: Does she want Cal back, or does she want to pursue a future with David?

While Cal finally rediscovers his inner manhood and confidence, he realizes sleeping with random women really isn't who he is, because he is still in love with Emily. Despite everything, she is his soulmate. At the same time, Jacob meets the woman of his dream, Hannah (Emma Stone), who changes him. He asks Cal for advice. The two men suddenly find themselves trading places, and the result points to something disastrous.

Steve Carell (Dinner for Schmuck) has had a few hits (Get Smart, Despicable Me, The 40 Year Old Virgin) and a few duds (Date Night, Evan Almighty), but he's always had a knack for playing the everyday lovesick man. Carell finds his stride in the role of Cal. He can play the schmuck just fine, but he can also be sassy and charming, a real romantic lead. It's a difficult to pull off, but Carell does a fine job.

Ryan Gosling (Drive) sheds his broody onscreen persona for the role of Jacob, the player. He is attractive, sexy, and charismatic. But deep down you know there's a soulful guy in there, and we're not disappointed. It's perfect casting. Emma Stone (Easy A) is amazing as Hannah. It's simply a pleasure to watch her. Julianne Moore (The Kids Are All Right) is very good as Emily, but I feel that her ability has been somewhat stifled in a less sympathetic role (playing the adulterer is always a risky choice).

Analeigh Tipton (The Green Hornet) is hilarious as the lovesick babysitter pining for a married older man. She gets that nervous, giggly, anxious and crazy puppy love just right. Jonah Bobo (Choke) displays tremendous confidence as a kid who knows what he wants and goes for it. There are other notable performances including Marisa Tomei (The Wrestler) as a crazy school teacher, and Kevin Bacon (X-Men: First Class) as Emily's coworker/love interest.

The screenplay by Dan Fogelman, who is best known for his family movies such as Tangled, Bolt and Cars, delves into more adult materials here including adultery, teen lust, and sexual conquests. But at the core, Fogelman tackles the most difficult subject of all: the crazy, stupid nature of love. What is love? And why is it so powerful despite everything our brains tell us? What is love that makes a wife cheat, or a husband forgive, an independent woman melt and giggle uncontrollably, or a playboy turn into goo? Fogelman also approaches the story from two different points of view: adult's and teen's. It is through his teenage son's more pure and unbridled passion that Cal rediscovers what he is all about.

The plot is well put together with multiple subplots, character arcs, and a good dose of humor mixed with true emotions. The dialogue is fresh, and the characters are all very likable. There is no villain in this movie, which is refreshing. That said, the plot can be contrived and manipulative. The biggest problem comes during a climactic twist -- Fogelman's use of misdirection and coincidence comes to a head and I have a hard time believing what just happened. Granted, he skillfully and masterfully constructed the whole situation, but that's it: it feels artificial and too carefully constructed, and further exposes the implausibility of all the coincidences. Which is just too bad because the script is otherwise very well written, allowing the actors to fully develop their characters who have real emotional lives.

Co-directors Glenn Ficarra (I Love You Phillip Morris) and John Requa (I Love You Phillip Morris) have a good handle on quirky characters. They successfully move the plot along smoothly and weave the multiple plot threads together. Sometimes, however, the story seems out of focus somewhat because there are too many characters to follow. We know everything is going to come together, but it is still rather distracting. The production is professional and the movie is well made, however.

I thoroughly enjoy and am touched by the movie, despite its major flaws and my uneasy feeling that I'm being manipulated. When it comes to matters of the heart, you either love it or hate it, and nobody likes to feel manipulated to feel certain way. So it's tight rope to traverse. I think by and large the filmmakers did a good job. It remains to be seen if audiences would be crazy, stupid enough to love it.

Stars: Steve Carell, Ryan Gosling, Julianne Moore, Emma Stone, Analeigh Tipton, Jonah Bobo, Joey King, Marisa Tomei, Kevin Bacon
Directors: Glenn Ficarra, John Requa
Writer: Dan Fogelman
Distributor: Warner Bros.
MPAA Rating: PG-13 for coarse humor, sexual content and language
Running Time: 118 minutes

Ratings:


Script – 8
Performance – 8
Direction – 7
Cinematography – 8
Music/Sound– 7
Editing – 8
Production – 8


Total – 7.8 out of 10

Midnight in Paris

© 2011 Ray Wong



To me, Woody Allen is hit or miss, and I often fail to understand his allure. However, when he ventures into the realm of fantasy, such as in Midnight in Paris, and stays behind the camera, the result can be rather amusing.

Gil (Owen Wilson) travels with his fiance Inez (Rachel McAdams) and her family to Paris. His future father-in-law is a staunch Republican businessman, and his future wife and mother-in-law are more interested in shopping and the finer things in life than the culture and history of France. Meanwhile, Gil -- a successful screenwriter and a wannabe nostalgia novelist -- is so convinced 1920s Paris was the Golden Age of the western civilization that he wants to move to Paris and write.

Inez, however, isn't onboard with his romantic idea. Instead, Inez is more interested in hanging out with her friend Paul (Michael Sheen) and his wife. Feeling out of place, Gil takes a stroll down the Paris streets and gets picked up by a few partygoers in period costumes. Before he knows it, Gil is making friends with the likes of F. Scott Fitzgerald (Tom Hiddleston) and Ernest Hemingway (Corey Stoll). Gil realizes that somehow he's been transported back to the Golden Age of Paris. And he wants to stay.

He tries to convince Inez to go the party with him the next day, but she thinks he's lost his mind. Instead, Gil returns and is having a great time meeting great artists such as Gertrude Stein (Kathy Bates), Dali (Adrien Brody), and Picasso (Marcial Di Fonzo Bo). He also meets Picasso's mistress, Adriana (Marion Cotillard), a beautiful, mysterious and free-spirit woman that captures his heart. Gil realizes he doesn't really love Inez, and he yearns to live in a different space and time, specifically to be with Adriana.

Owen Wilson (Hall Pass) has toned down his obnoxious surfer persona in recent years and continues to take on the more Average Joe roles. As Gil, he basically plays a younger and prettier version of Woody Allen (a successful screenwriter who wants something better -- one has to be blind to not recognize Allen in the character), and he manages to channel Allen without being annoying (since both he and Allen could be). Wilson isn't the best actor in the world, but he displays genuine earnestness for us to root for him.

Rachel McAdams (Morning Glory) for once plays a less sympathetic character as Gil's insufferably shallow fiance. It reminds us of her breakout role in Mean Girls -- I think McAdams should consider returning to her root playing mean girls; she has a knack for that. Marion Cotillard (Inception) is exquisite as Adriana. She is charming but independent and she looks great in period costumes.

The huge supporting cast includes many notable cameos: ever-wonderful Kathy Bates (The Blind Side) as the outspoken and motherly Gertrude Stein, effervescent Alison Pill (Scott Pilgrim vs. the World) as Zelda Fitzgerald, charming Tom Hiddleston (Thor) as F. Scott Fitzgerald, handsome Corey Stoll (Salt) as Ernest Hemingway, and Adrien Brody (Detachment) as the wacky Salvador Dali. Michael Sheen (TRON: Legacy) gives a brief but excellent performance as Gil and Inez's braggart friend.

Writer-director Woody Allen (You Will Meet a Tall Dark Stranger) is one of the most prolific filmmakers in Hollywood, and he's earned his right to make whatever films and wherever he wants. His love affair with Europe continues when he moves away from London. His story and direction capture Paris perfectly. Best of all, Allen returns to "fantasy" by giving us a time-traveling romantic comedy. It's by far one of the most "accessible" films Allen has made recently. The characters are very relatable and the dialogue witty and dynamic. The situations are fantastical and joyous. Granted, there's not much of a plot, but the historical characters coming through the revolving door are interesting enough to keep us engaged. One could only dream to have the fantastic experience Gil is having, to meet all his idols.

Allen examines many themes in the story: how many of us go through life meeting expectations without understanding what we really want; how we often idealize things that are different ("the grass next door is always greener") than what we have; how perspective changes to people who are living in the present vs. looking back to the past. It is the last theme that is the most potent throughout the film, emphasized when Adriana takes Gil back to her own golden age -- 19th century Paris. That's why Gil realizes it's all just an illusion, and the best time of his life is NOW, once he figures out who he is and what he really loves.

Allen's direction is fluid and full of energy. Other than a few awkward editing and dull spots, the plot moves along well and the characters are interesting. There's a warm, romantic feeling about the film that is not often present in Allen's work, but it fits the film excellently. Wilson may not be the perfect choice to play Gil (it's probably more of a wishful thinking on Allen's part, to have pretty boy Wilson to play Allen's alter ego), but the rest of the cast play well together.

Midnight in Paris is romantic, whimsical, and entertaining. While the themes are not particularly deep or life-changing, the best part is that Allen doesn't hit you over the head with them. The historical and fantastical backdrops are captivating as well. In a way, the movie is as fun and enjoyable as Paris, if that's your thing.


Stars: Owen Wilson, Rachel McAdams, Marion Cotillard, Kathy Bates, Kurt Fuller, Mimi Kennedy, Michael Sheen, Nina Arianda, Tom Hiddleston, Corey Stoll
Director: Woody Allen
Writer: Woody Allen
Distributor: Sony Pictures
MPAA Rating: PG-13 for sexual references and smoking
Running Time: 100 minutes

Ratings:


Script – 7
Performance – 7
Direction – 7
Cinematography – 8
Music/Sound– 7
Editing – 8
Production – 7


Total – 7.5 out of 10