Henry and Dean Whipple (Dennis Quaid and Zac Efron) are a father-son duo that are trying to get along, while they are also trying to buy as much farm-land as possible. Henry is all about his job, making money, being with his wife (Kim Dickens), and also being able to lay-around with his gal on the side (Heather Graham). As for Dean: he’s all about racing, causing havoc, being with his gal-pal (Maika Monroe), and having the dream that he will one day become the next big, NASCAR racer. The two don’t get along and can’t really see eye-to-eye on what their lives have turned out to be, but once Henry runs into the possibility of losing the one thing he loves the most (his farm-land), the two come together in surprising ways. Sort of.
The movie’s title, At Any Price, may seem like the dullest in the world. It’s almost as if the creators had a finished-product, but didn’t know how to sell it to the big crowds, so they just decided something that seemed inspirational would work and get people interested. Not for me, which is why I was not expecting anything at all worth while from this flick and for the first hour or so: that’s exactly what I got. Then, something happens in the middle of it all, that not only changes your view on the movie as a whole, but also has the title make more sense than ever. Can’t say what it is, but it will hit you like a ton of bricks, as it did to me. Trust me.
Maybe I’m out-of-the-loop or something, but I’ve never seen director Ramin Bahrani at work. I hear great things about his movies, but just have never given any of them a chance for the sole reason that none of them have ever seemed to really interest me. However, that’s just me and as I can see from his past movies ratings on Rotten Tomatoes: the dude’s got a lovely-following. But as the movie began and the ground-work for the story was being laid; I had no idea why.
It’s not that the dude’s a dull director, actually: it’s the opposite. Bahrani finds a way to paint a portrait of this small town in Iowa that feels and looks as if it should be the little slice of Americanism that you can only get with these types of places, and that’s exactly what it seems like after awhile. He finds beauty in the most simple things, such as a father tending to the rows and rows of corn, or a mother fetching potatoes out from underneath the soil. It’s all there and it all makes you feel at home, but there’s more stuff going on here than meets the eye, and that’s the whole problem right there.
Bahrani takes the over-stuffing of useless characters and subplots, as a way of portraying conflicts among the central characters. Instead of having the character of Henry Whipple just be a guy that’s struggling maintaining a loving-relationship with his son; he’s got to be banging some chick on the side, or his one son (the favorite) didn’t come home when he was supposed to and is out, climbing up the mountains in Argentina, causing even more anger and pain for the man on the inside. But Henry isn’t the only one: Dean goes through the same motions too. Not only does Dean seem to be having daddy-issues; but he also is having problems with his racing-career, being a loyal boyfriend, and is leading a life of crime and hate.
Sounds like too much already for a hour and 45 minute movie? Well, that’s because it is.
If Bahrani left these two central-characters alone, have them face one dilemma each, and leave that be it; then everything would have been fine, dandy, and easier to take in. However, that’s not what Bahrani does and instead, adds more and more context to this story that doesn’t feel needed. Yes, some of it does round-out these characters to make them feel and seem more humane in the way they go about their days together and separated, but it also feels like unneeded melodrama that we could easily deal with if we came home from school and turned on the Lifetime channel. Also, not to mention the fact that the movie goes down some crazy-routes that not only will make you scoff, but just might have you wonder what the hell it is that you’re watching.
But it should be noted, once again, that the one crazy-route that they decide to go down is something I was not expecting in the least-bit, did not know what to make of it at first, and after awhile of thinking and contemplating what it meant to the whole story in a nutshell, I came to the conclusion that it made sense and made the movie a whole lot better as a whole. I’m so damn tempted to go down that dick-headed road and say what it is, but I just can’t. What this final-twist in the story brings to the front, is not just character’s relationships and what each one means to the other, but how they are in everything and anything together.
After all of the strange shit that Bahrani throws at us, he ends on a pretty heartwarming note that touches any person who’s ever been there for a family-member. Whether you noticed that your mother, father, son, daughter, sister, brother, dog, cat, etc. is going through obvious problems or not; you’ve always been there for them when they needed a helping-hand the most. That’s the idea that this movie touches on and despite taking some odd side-streets to get to it’s destination; it still works. Not in the longest-time has there been a flick that I’ve seen, but relatively bored and unsurprised by it, and kick me in the ass, slap me in the face, and open my eyes out of nowhere and change my final-thoughts on the whole-product; what it meant and what message the director was trying to get across. Seriously, once the final-twist comes up: you are going to either run with it and continue to think about it, or throw it in the garbage, and forget about the rubbish you just witnessed. It’s your call. Mine was the former.
Probably the best and most memorable aspect of this whole movie, without a doubt is the fact that after all of these years of showing up in random, bloated CGI-fests like this one, or that one: Dennis Quaid finally gets a role that’s worth his time and effort. Quaid has been one of these actors (refuse to call him a “character actor”), that shows up for work, does what he has to do, and goes on with his day. Nothing more, nothing less. He barely leaves an impression on the viewer, but lets us know that he’s there, if it’s only soeley to collect a paycheck.
All of that better change now, especially after a performance like this as Henry Whipple.
What’s so great about Quaid here is that the dude never seems like he’s phoning it in. Henry Whipple, on-paper, doesn’t seem like a very-complicated character as he’s just a dude trying his hardest to make his son, his wife, and his wallet happy, and leaving it like that. However, Quaid finds a way to make this guy as complicated as ever, which was a total sight to see because with every new scene you get with Quaid on-screen, is another new scene where you find out more about Henry, and his character. You always feel for this guy whenever he’s doing something; whether it be trying to win the heart of his son back again by showing up to his racing matches, or trying to buy-off somebody’s land during a funeral. No matter what the situation may be that the dude finds himself in, you always feel for the dude and has you on-board with his character throughout the whole movie, even when he is fucking up. And trust me: he does. Quaid is amazing and I hope this gets him more and more quality roles in the future, as the dude deserves it. Screw, Meg Ryan! Team Quaid!
That’s not to say the others in this cast aren’t worth talking about, because they all do fine with their lettuce and carrots. It’s just that Quaid is the one with the real meat. Zac Efron is fine as Dean, the troubled-son who doesn’t want to take over the daddy’s business and wants to be a rebel by racing. Efron is fine in the role as he shows off his guns, his good-looks, and his attitude, but the character is thinly-written and feels like he’s trying to go for the same feel of a young-Brando or Dean. Doesn’t quite hit the same marks, but is good with what he’s called on to do.
Playing his mommy is Kim Dickens who knows what’s going down with these two when they are busy at work, and are out in their free-time, but she keeps it all to herself and is good at it. She’s very subtle, but still dramatic to make enough of a difference in the grander-scheme of things. Heather Graham is wasted here as the whore of the town, Meredith, as it seems like she can’t be a normal person without a dick in her or some form of her clothing taken-off. Lastly, to round of the troupe of women we have on display here is Maika Monroe as Dean’s girlfriend who not only likes him for what he is, but also likes his father because of the determined business man he shows to her, as well as everybody else around him. Monroe is a welcome newcomer because she feels like a young gal that’s confused and unknowing about what she wants to do with her life, but still full of love and life. Hopefully, just like with Quaid, this means we get to see more of her in the near-future.
Consensus: At Any Price is a strange movie, but not for the sake of it’s tone or direction. It’s one of those movies that starts off so dull, continues on with same feeling/pace, but ends up taking you by storm with a final-act surprise, giving us a wider-glimpse of these characters, who they are, and what they mean to one another.
7 / 10 = Rental!!
Would have been better, had it been based on the Nintendo games.
Ward, a reporter (Matthew McConaughey) and his younger brother, a college drop-out named Jack (Zac Efron) investigate the events surrounding a murder to exonerate a man on death row, named Hillary (John Cusack). However, the only reason they are doing so is because the gal that wants Hillary out, a sexxed-up, piece of work named Charlotte (Nicole Kidman), just so happens to be the apple of Jack’s eyes.
I’ve been hearing a lot of crazy shit about this film and to be honest: it’s all deserved. Everybody knows Lee Daniels because he pulled-off Precious about 4 years ago and it showed him as the type of director that can get a story, no matter how gritty or despicable, and be able to make it in the least-bit inspirational for people. However, it wasn’t his first rodeo, as that honor (and I guess, dishonor) goes to a little, fucked-up movie called Shadowboxer. If you’ve never heard of it, please, don’t go watch it because it’s just an insane piece of work to watch and it will have you question whether or not you’ve just watched two films, from the same director. And if you have heard or have actually seen it, then buckle up, because that exactly the same type of crazy shit you’re going to get here.
As much as Daniels’ debut may have blew huge gonads, this flick is actually more controlled than that one and that’s probably because it’s just wild, without making any excuses for being so. There’s definitely that type of grungy, exploitative look and feel to the movie that has you feel as if you are in the dirty South, around the 60′s when racial-issues were up to the forefront and everybody was just sweating their asses off. If anything Daniels does do right in this flick, it’s at least nail the look and feel of the period that he has it placed-in, but everything else, well, it is sort of all-over-the-place.
Being “all-over-the-place” isn’t really all that much of bad thing if you can do it, and get away with it. The problem isn’t that Daniels can’t do it, because he sure as hell makes sure that everybody knows he can in every, damn second of this movie, but it’s more that he can’t get away with it. He can show two people making each other cum without ever touching one another and just simulating dirty things to one another, but it sticks out like a sore-thumb to everything else, and he can’t get away with it; he can show a girl peeing on a guy because he got stung by a bunch of jelly-fish, but it’s just odd and seems like it was only done for shock-factor, and he also can’t get away with it; and lastly, he can try and bring some issues up about the whole Civil Rights-movement, but when you compare it to the last sequences I just mentioned, it seems uneven, and once again, he can’t get away with it. Directors like Quentin Tarantino, Pedro Almodóvar (who apparently wanted to take this material at one time), or even Robert Rodriguez for that matter, could take this material, do whatever the hell they wanted to with it, and at least make all of the crazy shit and melodramatic stuff gel well enough together, that you almost don’t notice it, but Daniels isn’t one of those directors. He’s just a regular-director that seems like he’s trying his damn near hardest to have us all forget about the over-weight girl story he pulled-off 4 years ago, and try to distract us with insane amounts of sex, whether it actually happen on-screen or just be insinuated. Either way, there’s a bunch of sex that seems to come out nowhere at times.
Is all of this wackiness and cookiness fun? In a way, yes it is and honestly, as much as I may be ragging on the film right here, I am more or less just hating on Daniels. Not to say that the guy doesn’t know how to make a story move, because he definitely does, but it focuses way too much on the personal lives of these characters and not in an exciting or electric way either, it’s just a boring, way-too-dramatic way that comes off as trying too hard. We never really care for these characters, the case they continue to push to the side, or what their relationships are with each other and how that affects one another, and I guess that was the point. Daniels is just giving us a bunch of dirty people that we can either care to like or not. Whether or not we actually do, doesn’t matter, because as long as Daniels is just allowing us to see how insane he can be, then he’s the one with the real joy in the end. That kind of ticks me off now that I think about it, because there was definitely a crap-ton of promise with this flick and premise, it’s just a shame that it had to fall so far from ever achieving that said promise.
The only promise that this flick ever does hit head-on, is the ensemble cast and what they are able to do with each of their roles, no matter how wacky or unbelievable they may be. Zac Efron is the sort-of voice of reason throughout this whole flick and is definitely growing-up right in front of our own eyes, but if you think about it, it is sort of a dull role for the guy but nowhere near as dull as the role Robert Pattinson had in Cosmopolis. Still, Efron makes this character work and his performance shows-off a kid that definitely wants to be treated like an adult, yet, still has the tendencies of a kid that just doesn’t yet know what to do with his life or who to spend the rest of it with. Sort of how Efron is now, just without being peed-on. Then again, I still have no idea what him and Vanessa Hudgens did in their spare-time.
Playing his big bro, Matthew McConaughey is good as the slick and sly reporter that can not only charm his way into getting whatever the hell he wants, but also has a bit of problems brewing underneath that he’s pretty good at hiding. This is a nice role for McConaughey and it’s one that he can practically play while sleeping, but after a year where tore the roof down as force to be reckoned with in flicks like Killer Joe and Magic Mike, this one definitely ranks the lowest-of-the-low for him. Not to say it’s bad, but it’s not to say that it’s anything special, either. John Cusack is playing really, really against-type here as the psychotic and nutty Hillary, and shows that Cusack can probably do more than any of us ever expected from him. He’s strange, he’s weird, but he’s also very sinister and I like how Cusack totally just swan-dived right into the role, totally leaving all shades and memories behind of Peter Gabriel tapes in his pathway. Not to say that this is a special performance that makes us think of Cusack in a different way now, but it’s definitely a role that shows the guy can do more than just be that old dude from the 80′s we all remember relating to when our dates walked-out on us at prom. Yeah, that he is no more.
The one who really steals the spotlight from the rest of these dudes is Nicole Kidman, as the starlet fire fox, Charlotte. Kidman hasn’t been this sexy or bad-ass since the days of Eyes Wide Shut and To Die For, but here, she totally steals all the glory and attention, and has all of the fun out of everybody here. She just relishes in the fact that she can be sexy, be a little dirty, but also be a little bit sympathetic as well and once things start to go South for her and this story, she’s the only one you really give a single hoot about, especially since she’s the only one that has the most believable convictions out of the whole story (she just wants love). Kidman is probably getting the most recognition and praise for her work here and rightfully so, because the gal just looks freakin’ hot and steams up every scene she’s in, whether she’s trying to seduce people and act sexy, or not. Either way, Kidman definitely had my attention in almost every scene and I’m glad so, too, because she deserved it.
Consensus: You may have a boat-load of fun with The Paperboy if you’re looking for some weird shit to happen, non-stop without any rhyme or reason as to why exactly, but if not, then you may just be bored and annoyed by how uneven everything is, despite Daniels trying his hardest to make us think or see otherwise. You strike-out this time, my friend!
Once I’m past 30, man, my life is going to suck.
Jesse (Josh Radnor), a 35-year-old college admissions officer from New York City who loves literature and language, returns to his alma mater in Ohio to attend a retirement ceremony for a beloved professor (Richard Jenkins). While there he meets nineteen-year-old girl named Zibby (Elizabeth Olsen), whose love of literature thrills him. They become pen pals, among other things and realize more about their life than anything ever before.
I’m not going to sit-here and lie to all of you, because quite frankly, that’s just not how I roll my dice and I never intend on doing. So, by saying that I’m just going to state that when it comes to movies about trying to hold onto your youth and staying cool, I can’t really find much to relate to. I mean I’m 19 years old, I still go to college, I still take classes, I still drive my own car, and sadly, I still live under my parents roof. So that’s why when it comes to a story about an older-dude, trying to go back to his glory days and see what he can do with a much-younger gal, not only am I bit horrified (age-gaps in relationships bother me, I don’t know why), but I also find it hard to be able to reach out and say, “Hey, I know where you’re coming from, man.” Obviously, I’m probably not the only one who feels like this but it was just something that kept-on going throughout my head as I was watching this and what made it even weirder, was the fact that I actually liked the film for that reason. Very strange thing for me, indeed.
This is the sophomore-effort from writer/director Josh Radnor and I have to be frank with you, I don’t really like the guy. That’s not to say that I don’t think he has talent or isn’t funny, but I was just never a huge fan of How I Met Your Mother, and even when I did actually stop-by to check-out an episode or two, he never really came off as funny to me. He tried a bit too hard it seemed and it was almost like that TV show was going to be his only claim-to-fame. However, it seems like I am terribly wrong with that idea because the guy actually has a great talent behind-the-screen and even though I didn’t check out the guy’s first movie, I still think it’s easy to say that I look forward to seeing what this guy can do.
One of the main points about this whole flick is how people, men especially (trust me), try to play both sides of the fence when it comes to mentor-teacher relationships. They try to be hip, with it, and cool, like all of the youngsters out there, but at the same time, they can’t help themselves to throw a little bit of wisdom down there for short measure and still feel like they deserve the equality and respect because they are older and apparently, know more. I’m not saying all older-people are like this, but it’s obvious that this is how most of them feel and that’s why this movie is intriguing because it walks a fine-line between being all about being young, once again, but at the same time, also shows you that you sort of have to embrace the fact that you’re getting older, and your glory days are sort of behind you now. It’s a very true-statement to humans and the way of life, and the way that Radnor goes about it in this flick really surprised the hell out of me, mainly because it seems believable.
Before any of you out-there begin to write this movie off as a piece of garbage because it shows a relationship between two people that are 16-years-apart from one another, don’t worry, because Radnor sort of shows how it as well. What I mean by that is that Radnor understands that this “sort of” relationship between these two people is a bit ridiculous in terms of the age-gap, but also makes it seem pretty reasonable because they actually share a lot in-common and it makes you wonder if Radnor is ever going to take that plunge into her bed, or just her brain. There is some-bit of suspense to that, but while you’re waiting, you can also just sit-back and realize that these two don’t just have to be boyf and girlf, they can actually be very, very good-friends that can help each other in the world and how to make it better for themselves. It’s a nice relationship, that is treated more as a friendship and shows you that sometimes, a man and a woman can have more of a connection between each other by sharing thoughts and ideas, rather than fluids. If, you get what I’m saying.
Radnor’s ideas are very well thought-out and very pleasant to see play-out, in terms of his easy-going direction, but the film as a whole, just doesn’t seem to stick with you, quite as much as the scenes between Radnor and Olsen. A lot of the scenes where it’s just Radnor talking to other people about life, growing-up, and reading literature, feel like they came right from his brain and obviously from a guy that knows what he’s talking, but is also trying to sound a lot like Woody Allen but less realistic in how people actually speak. Some people here work in montages and speak as if they’ve been waiting to say these witty lines for days on end and as entertaining and funny as it may be to hear in a movie like this, it sort of comes off as a bit unrealistic. People who love literature and read about a book-a-day, would definitely have open discussions about the meanings and themes behind certain pieces of it, but still, would they really get right down to it by quoting random lines and it’s significance and meaning to actual-life as a whole? Maybe they would, I guess it all depends on the type of person you’re talking about, but here, it doesn’t really quite work and shows you that maybe Radnor has some areas he needs to work on.
However, the most believable aspect behind this whole movie is actually the friendship between Olsen and Radnor, and I think that’s mainly because their chemistry is so perfect. Olsen works perfectly as Zibby, because she has this look and act to her that seems wise beyond her years, whereas Radnor has this boyish charm to him that makes him seem like a guy that’s tired with getting old and just wants to live it up a bit. Watching them work together is great and really has you thinking about how much you can’t blame the guy for being so attracted to her in the first-place and may just have to go for the relationship, despite the 16-year age-difference between the two. Yeah, I’m a big believer in that those types of relationships just creep me out and rarely ever work but for this one, I was able to let my guard down just a tad bit and that’s why I enjoyed this film, as well as the relationship a lot more.
Playing the aging-professor of Radnor’s is Richard Jenkins, who, once-again, gives a fabulous performance that shows the guy being the coolest and hippest old dude out there. Some of the scenes with Jenkins really struck a chord with me, since it’s obvious to see how and why somebody would get so caught-up in teaching other people all you know and it just shows you the type of skill and talent Jenkins has as an actor. Allison Janney is alright as the stand-offish professor of Radnor’s who shows up every once and awhile, and acts like a total bitch and as good as she is at playing it, it’s a bit annoying considering it’s an act she does quite-well and a bit too often for my liking. The most surprising one out of this whole cast is probably Zac Efron as the hippie who shows up on campus whenever Radnor is around, and they just chill-out, talk, and trade some soul-secrets with one another. Efron’s very good in a small-role like this and it has me happier to know that not only can this guy dance and sing, but he can also act and make his presence one that you’re happy be around. Hopefully it continues on-and-on for him, as I’ve always had hope in him, no matter how much The Lucky One still stays in my mind.
Consensus: Though it’s ideas and themes about growing-up and trying to stay cool don’t stick with you as much as they intend-to, Liberal Arts still proves that Josh Radnor is not only just a likable guy in-front of the screen, but knows how to write and direct a movie that shows him for what he used to be, wants to be, and gives us a feeling like we will soon be hitting the same mid-life crisis this guy seems to just be hitting, as of right now. Poor guy.
You don’t have to be a dick to be an actor, but it seems like a good excuse.
Seventeen-year-old Richard Samuels (Zac Efron) spends his days dreaming of the bright lights of Broadway. Richard happens upon Orson Welles (Christian McKay) and his fledgling Mercury Theatre company. Richard impresses Welles and lands an unpaid bit part in the Mercury’s forthcoming run of Julius Caesar. He is taught the ropes by a beautiful, ambitious production assistant, Sonja (Claire Danes). Richard falls into Sonja’s womanly charm almost instantly.
Now I haven’t checked out every single piece of work this legend (Orson Welles) has to offer, but from what I hear there seems to be three things about him: he 1. was talented, 2. was very big on his ego, and 3. was a huge dick. But hey, you can probably get away with number 3 when you’re considered one of the greatest actors and directors of all-time.
I was a tad disappointed to see that Richard Linklater directed this without adding anything of his own writing, but it didn’t matter too much once I realized just how fun and charming a flick like this can be. I have only been a part of 2 or 3 plays and I can easily say that Linklater definitely nailed down what it’s like behind-the-scenes of one. Everybody’s constantly rushing, getting tense, and trying so hard not to mess up their lines that almost anything the slightest thing makes you crazy or pushes you to forget everything. All of that continuous hustle-and-bustle from the first rehearsal to the final show is captured here perfectly; the passion of the people who surround the play is so present that it brings you into this place that makes you forget it’s the miserable thirties.
But who am I kidding?! The real reason this film works so damn well is because of Christian McKay‘s larger-than-life performance as Orson Welles. I have never heard nor seen McKay before but I think he definitely nails everything about Welles from the gruff in his voice, to the ways his eyes move when he’s mad. Welles (as portrayed here) is a genius but is also very egotistical in the way that he only wants the show done his way, and anybody else who dares to argue against his vision will either be kicked to the streets or used for their opening night, then kicked to the curb. Welles may have been a guy that only cared about himself, and himself only, but he also shows a lot of talent when it came to getting just about every detail right and the performance from McKay only proves that to be even more true. McKay doesn’t just sound or act like Welles, he is Welles and for the whole time I was watching him, I couldn’t get past the fact that who I was watching right now wasn’t actually Orson Welles himself. Definitely a performance that should have made him a lot of a bigger name but I guess it was the film’s limited release that sort of screwed him over in that case.
However, as amazing as McKay as Welles is here, he’s also the biggest problem with the flick because when it isn’t on him and is focusing on all of this other junk, it sort of gets a little fluffy and uninteresting. All of the stage stuff was fun to watch but when they started focusing on the story outside of it all, I really started to lose my interest as I found this coming-of-age story to be rather, —bland. It seems like the writers here just borrowed from a whole bunch of other coming-of-age flicks, and found their ways to throw them in there without any real interest in actually moving the plot along. Basically, it’s just here to give us another story that isn’t all about the stage but that’s what I started to miss out on and I think if Linklater at least wrote this, it would have been a lot better.
Claire Danes is pretty good here as Sonja and definitely is a lot happier in this role than she was in Shopgirl. Zac Efron is also good in his role too as Richard (how cute, Linklater), but he definitely sticks out like a sore thumb when it comes right down to it. It’s not that Efron is bad, it’s more that he is just way too Hollywood for this role and movie, and the costuming just looks a little too goofy on him. He definitely has charm: charm that we will see more of in upcoming years, but like wise he doesn’t seem anywhere near the perfect fit for this role.
Consensus: Me and Orson Welles is at its best whenever it focuses on the behind-the-scenes stage antics of 1937 Manhattan and McKay’s perfect performance as Welles, but whenever the focus goes towards its fluffy and bland coming-of-age story, things get a tad uninteresting.
Don’t mess with the little orange people mob.
The story around the journey of a boy (Zac Effron) as he searches for the one thing that will enable him to win the affection of the girl of his dreams (Taylor Swift). In order to find it, he must discover the environmental tale of the Lorax (Danny DeVito), the grumpy yet charming creature who fights to protect his world against the unscrupulous Once-ler (Ed Helms).
There’s been so much controversy surrounding this flick already about how it’s too political and is basically getting kids too involved with politics and right-wing messages. Haven’t these people ever watched the old Hanna-Barbera cartoons!?!
What works for this flick is that it is definitely one of the better-looking animation flicks I have seen in 3-D in a long time. Being that this is a Dr. Seuss adaptation, it’s pretty cool to see all of the characters and locations look like they just came from his own hand and given an extra-dimension. The 3-D also works because it is used in a way that is meant to thrill you but then again isn’t that what 3-D is meant for? You see almost every little piece of hair in The Lorax’s mustache, the drool coming from the bears’ mouths feel as if they’re coming right towards you, and when a tree grows, it almost seems like it’s growing right in the movie theater. This is 3-D that is meant to feel like it’s actually there and even though so many other countless animated flicks do the same thing, they don’t do it quite as well as this flick. Basically, this is a very good-looking film that should be seen in 3-D, but if you can’t see it with the funny glasses then don’t feel bad because you’re not missing a whole lot.
Another part of this film that works is that it is a kids flick that has a good spirit with it the whole way through. Throughout the film, we get nice bits of comedy that will not only appeal to the parents but also provides some slap-stick for the kids that will always seem to get them laughing no matter what. The songs are also very good and original and I like the way that they didn’t try to take any old songs and rehash them into the plot to make them seem relatable to the plot, instead they just made their own original tracks and they work. “Let it Grow” and “How Bad Can I Be?” were definitely two songs that I couldn’t stop humming on the way home even though I had some Bob Marley cranked up real high.
Where I think this film hits its problem is its whole political message that may seem like the wrong taste for a flick like this that’s centered towards kids and most adults bringing their kids to see it. I’m not against a film having their own agenda and trying to reach out to kids and making a point but in a film about a little orange tree hugger named The Lorax? Really? It also didn’t help that within the first 5 minutes the film was already showing these people of Thneedville as totally oblivious/and or ignorant townspeople that just brought everything because it was plastic and it was hip. Much like ‘Despicable Me’, too much of it seemed a little too mean to be taken seriously and a subject to ever be taken lightly.
Don’t get me wrong here though folks, I did like the message that this film brought up to kids and I hope it definitely gets them out there trying to preserve the land we live on and making sure that people are taking care of our beautiful planet, but then when they throw in the really crappy villain named Mr. O’Hare, who owns an air company, it seemed to get really really lame. The whole villain plot of this film seemed like the last thing we would see in anything from Dr. Seuss and I almost wish that they went for a villain that was a little more wild, crazy, or just overall outlandish. Rob Riggle does a pretty good job with O’Hare’s voice but they then ruin it by using the most unoriginal use of a villain by showing how small he is. I’ve seen the same damn thing in ‘Shrek’ and so many other animated flicks that have a villain, so show me something different for once people!
As for the rest of the voice cast, they all do pretty fine jobs. Ed Helms is pretty good at handling this film all by himself as The Once-ler, and does a great job especially when it comes to the music where he gets to show off some guitar-o skills; Zac Efron does an alright job as Ted, our main protagonist, but it seems like he’s a little too old for these sorts of voice roles and I think he may have to start to move onto his bigger roles he has lined up; and Taylor Swift may seem like another piece of stunt casting to get teenage girls seeing the flick and buying the soundtrack but she’s fine as well. The best out of this whole voice cast is probably Danny DeVito as The Lorax who is a perfect fit because he’s funny, charming, a bit of an ass, and they are both the same size. I don’t mean any disrespect when I say that though Danny, I really don’t.
Consensus: The Lorax may run into problems about getting a little too political with its message, but the talented cast and beautiful visuals keep this film going even when the story seems to slow down.
Just another excuse for people to go, “oooh look who it is!”.
‘New Year’s Eve’ celebrates love, hope, forgiveness, second chances and fresh starts, in the intertwining stories of couples and singles, told amidst the pulse and promise of New York City on the most dazzling night of the year.
Oh once again, another holiday, another holiday, and yes, another time for Garry Marshall to make Robert Altman turn around in his grave. This is basically the same exact thing as Marshall’s same ensemble-filled film, ‘Valentine’s Day’, and even though this one is only just a tad better, that really is not saying much at all.
What these types of films always have problems with is that all of these types of films have so many stars passing in-and-out of the flick as if it was I95 but they are sometimes not really given much to do, instead of just to be there and look pretty. This is the case with this flick and I felt like Marshall really rushed things here to the point of where he wasn’t really concerned with the stories as much as he was more concerned with just getting as much stars up on the screen before they had to go leave and shoot a better film. When I say this, I’m not talking about Sarah Jessica Parker. She loves this kind of stuff and I think she may be the only one who does too.
Another problem with all of these films is the fact that almost everything everybody says here either seem like cliches, something taken out of another flick, or just plain schmaltz. The film always goes for being sweet, cute, and loving but it more or less just comes off as being the same old crap that I’ve seen time and time again, except this time with Jon Bon Jovi spouting out corny love songs. But then again, the guy owned The Philadelphia Soul, so it’s not as bad if say someone like Nick Jonas was doing it. Yeah, that kids lame.
I knew I was going to get this kind of stuff before I went into this flick but I honestly think that these films try way too hard to give more meaning about a holiday that is basically all about getting plastered with your buddies, yelling random shit at people you’ve never met in your life, freezing your ass off, counting down till a big-ass glow ball hits the bottom in 10 seconds, ending up making out with a person that chick that looks like your sister, and waking up the next morning in somebody else’s bath tub with a splitting headache. I’m not at all speaking from experience but let me just tell you that when it comes to this holiday, not many people are reflecting on the past year and what they are thankful for and what they aren’t thankful for. So stop trying to give it more meaning than it already needs Garry!
However, as much as I wanted to diss on this film for what it obviously fails in, there were moments here where I was enjoying myself probably because New Year’s is such a fun holiday and that’s something that I don’t think Marshall took away from. There are moments where this film actually seems funny and had me chuckling here and there, mainly because of the cast and probably just because this film sort of put me in a good mood. It’s also one of the rare cases where the “bloopers” during the end credits had me laughing a lot more throughout them, instead if the whole film itself.
The whole cast here is star-studded everywhere you look and made this film a little bit better. Instead of naming the whole cast like I normally do with these ensemble-like films, I’ll just run down the people who were probably the most enjoyable. Zac Efron was probably the one dude I had the most fun watching up on screen; Hilary Swank is actually quite convincing as a Times Square vice president; and Sofia Vergara is not only stunningly gorgeous but fun as hell to watch here as the sex-pot chef. There are others that were somewhat fun but too many times were there just these big-named stars just sitting around doing nothing. I’m talking to you, Ludacris. And no, I will still not call you by your “real name”.
I mean to be brutally honest, Valentine’s Day is not a very joyous and fun holiday probably because it’s too centered on having a love on this one special day. However, New Year’s Day where you can just do whatever the hell you want basically and have a blast the whole time no matter how old, young, or if you’re single or not. This film may have it’s obviously problems with plot, writing, and overall construction, but keeping to the fun and reckless spirit that is New Year’s, is what made my enjoyment level of this flick higher than I ever expected it to be in the first place.
Consensus: There is plenty of schmaltz, corniness, and moments that will more or less make you want to punch the writers in the face, but when it comes to keeping the actual fun and unpredictable atmosphere/spirit of it’s holiday, New Year’s Eve is a fun flick for anybody that wants to see stars coming-and-going non-stop for a whole 118 minutes.
If you have just read this review and cannot believe I just did what I did, please do not have any lost hope for me. I will once again get back to reviewing shit and calling it exactly what it is. I promise people.
You know if I was seventeen and looked liek Zac Efron, I would go back too.
On the brink of a midlife crisis, 30-something Mike O’Donnell (Matthew Perry) wishes he could have a “do-over.” And that’s exactly what he gets when he wakes up one morning to find he’s 17 years old again. With his adult mind stuck inside the body of a teenager (Zac Efron), Mike actually has the chance to reverse some decisions he wishes he’d never made. But maybe they weren’t so bad after all.
Basically just imagine this movie as Big, but backwards. And instead of silly Tom Hanks, you have teen sex appeal god, Zac Efron. Big Difference.
The film uses an overly used premise and I can’t quite say that it hits the money in originality. The high school that Efron attended was filled with all the usual stereotypes you could imagine: the sluts, the geeks, and of course the jocks. The film tries to be like many other teen vehicles like Freaky Friday, Mean Girls, or even Hannah Montana for that matter.
There is also a huge sense of creepiness in this movie. So many times when Efron and his wife Leslie Mann were on screen together and everything was just so creepy and weird that it was so hard to believe. Things got even weirder with his daughter, and although they handle the material with ease it is still a bit weird.
The film though does have some clever writing. There were some moments where the film had me laughing a lot more than I expected, and actually had me caring for the characters also more than I was expecting. The movie handles its material with nice and kind sweetness, and doesn’t over-shower it with too many sexual jokes, if any at all.
This is Efron’s first role to branch out of The High School Musical role, and to say the least he does a good job with it. He has a lot of charm and enthusiasm, and actually shows that he will be able to have a long career with the right film choices. Tom Lennon does have some good moments as his zany nerd, but sometimes I felt like he gets over-used and should have been played once and awhile.
Consensus: Though its uses an over-familiar plot and doesn’t bring much new to the screen, 17 Again is a sweet teen comedy, backed by a energetic and charming performance from Efron.