Take This Waltz is beautiful maddening and sexy just like its protagonist Margot (Michelle Williams). Margot speaks like a toddler to her husband Lou (Seth Rogen). She's moody but playful and she has cutesy and symbolic neuroses like insisting on taking a wheelchair at the airport because trying to make her flight is the sort of limbo that makes her anxious. As she explains to a handsome stranger named Daniel (Luke Kirby) she's afraid of connections she's afraid she'll get lost and no one will ever find her. Almost everything about her is childish from her bright yellow raincoat to her junior high insults ("retard " "gaylord") to her shrieking embarrassment when she pees in the pool during a water exercise class.
"What's the matter with you " asks Daniel "generally?" That's the crux of the movie. What is the matter with Margot? Even Margot doesn't know the root of her restlessness. It seems the only person willing to call her on it is her sister-in-law Geraldine an alcoholic in recovery who is already anticipating her own failure.
Take This Waltz relies heavily on chance and metaphor but the emotional intensity can make you willing to take that leap. Williams carries the film as Margot while Rogen gets an excellent chance to show his emotional side as Lou a lovable bear of a man. Kirby plays Daniel with an easy heady sexuality that makes Margot's decision understandably difficult. Sarah Silverman drops her bad girl comedian persona and really shines as acerbic but insightful Geraldine.
After Daniel and Margot meet at a historic village (she's rewriting the tour book for the tourist destination and he's who knows a fan of colonial history) Daniel is seated next to her on the plane. He also happens to live down the street from her and Lou. By the time he's began to wonder what Margot's deal really is they're knee deep in a heated emotional affair. Their attraction is immediate and palpable an irresistible force felt off screen. Daniel verbally consummates their affair with an unforgettably hot monologue.
Lou on the other hand isn't quite on the same page as Margot when it comes to their sex life or future children. He's knee-deep in a chicken cookbook so the couple and their family and friends eat almost nothing but different chicken dishes at every mean. You can only eat so much chicken right? Daniel on the other hand is new. "New things are shiny " Geraldine tells her in the communal gym shower as the women are soaping up after that pool incident. "New things get old " comments a woman nearby. This is one of the strongest scenes in the movie where women of all ages shapes and colors scrub down unapologetically and talk amongst themselves in a private/public space.
Take This Waltz is a more realistic portrayal of an erratic young woman who in a different writer's hands would be one of those Manic Pixie Dream Girls. Even though Margot wears adorable onesies and has the playfulness of a child she also hurts a lot of people and is screwed up for no apparent reason. It's not always clear why these men are attracted to her and you can tell they aren't sure themselves but it's interesting and painful to watch it all unfold. Take This Waltz is beautifully shot full of buttery sunlight and lush parks and sweetly decorated abodes. Polley rolled the dice on a difficult protagonist and comes up a winner.
Let's just say there aren't any surprises in Stealing Harvard. You pretty much know what you are in for when you sit down. John Plummer (Jason Lee) is a good-hearted fellow who just wants to marry his longtime fiancée Elaine Warner (Leslie Mann). He works hard for her father (Dennis Farina) at a medical supply store but Mr. Warner is less than happy with his future son-in-law. Still John finally gets his wish when he and Elaine reach the $30 000 mark she made them save so they could marry and buy their dream house. That's it? We can go home now? Alas no. A snag in their plans comes when John's niece Noreen (Tammy Blanchard) gets accepted to Harvard and his trailer-trash sister Patty (Megan Mullally) reminds him of his promise to help pay for Noreen's education--to the tune of $29 800. D'oh! Since John can't disappoint Elaine and Noreen he asks his best friend Duff (Tom Green) to help him try to get hold of another 30 grand. Duff agrees of course but accomplishing this feat legitimately is simply not an option. As Duff's plans to turn them into petty criminals fail each and every time John becomes increasingly desperate. What will he do? And more importantly do we care?
As an actor Jason Lee has made some curious choices. Sticking with director Kevin Smith (Chasing Amy Dogma) has been a smart move as well as scooping up a choice role in Cameron Crowe's Almost Famous. But he's made some pretty bad choices as well--Kissing A Fool Big Trouble and now Stealing Harvard. The material is way beneath him. John is too milquetoast for Lee's smart-ass style and it doesn't suit him at all. There is another reason Lee should have just walked away from this one--being in a movie with Tom Green. Green's Duff does manage to elicit a few laughs here and there but the comic actor who once touched a very eclectic funny bone in many people has now become a parody of himself. And an annoying one at that. Mann (George of the Jungle) does some interesting things with her character Elaine. You don't really like the uptight daddy's girl much in the beginning but then she blossoms and changes showing Mann's comic abilities nicely. John C. McGinley as the detective who goes after the two boneheads and Mullally as the slutty Patty both turn in funny performances. Farina however is completely wasted which is a shame.
OK so there are a few times in Stealing Harvard where you actually laugh out loud. You've seen most of them in the trailer but they are funny nonetheless. Duff and John trying to choose their code names Duff getting smashed up against the window John dressed as a woman. There are also a couple of moments you don't see in the trailer that kind of make you chuckle like when McGinley's detective explains what he actually uses the toothbrush for that Duff put in his mouth and pretty much all the scenes with Mullally. They are however few and far between. For the most part Harvard sticks to its insipid and completely ridiculous script and run-of-the-mill direction by Kids In the Hall alum Bruce McCulloch. For us hardened critics it's hard to have our intelligence insulted even for a forced laugh. But for some out there this could just be the kind of mindless entertainment they crave.