It is my estimation that there are very few people on the fence about seeing a movie about the universe of college a capella. The people who want to see this movie would all but kill to do so — on the other hand there are those who’d rather endure a three-hour documentary on the referendum to criminalize the distribution of lead-based paints. I was hardly in the latter category upon approaching Pitch Perfect. I wholeheartedly enjoyed the seasonal performances of my college’s championship-winning a capella group the Binghamton Crosbys (namedrop). I would happily welcome an influx of musical films to mainstream Hollywood. I really really liked the first season of Glee. I say all this to illustrate how open to the idea of Pitch Perfect I was and how much I really wanted to like the movie. Unfortunately as I would reluctantly acknowledge not long into the picture Pitch Perfect was missing many of its marks. Not all but many.
The movie touts itself not as Glee: The Movie as many on the opposing side are likely to deem it but as something far more self-aware. There are a handful of jokes about the rigid containment of the a capella world’s celebrity with remarks that all the authentically cool kids at the central Barden University exist beyond the confines of the a capella community. Unfortunately while it strives to adopt a self-deprecating attitude toward the tropes of the genre it draws the line at the rejection of the more hackneyed elements of its romantic and interpersonal storylines.
While the story is based in the always-worth-revisiting “be yourself” underdog theme it doesn’t quite execute this idea with full force. The highly talented Anna Kendrick plays Beca a “rebellious” aspiring deejay enticed into the nearly defunct Barden Bellas by well-meaning vet Chloe (Brittany Snow) due to her natural skill for singing but disliked by queen bee Aubrey (Anna Camp) for being just a little too different. But in all honesty she’s hardly different enough to evoke our sympathies. In fact the only outstanding characteristics Beca seems to have is that she’s pretty self-entitled and always a little bit miffed. Still she’s the apple of everyone's eye including the guileless flimsy male lead Jesse (Skylar Astin) who himself is a cherished new member of Barden's rival a capella group the all-male Treblemakers — led by the wickedly obnoxious top dog Bumper (Adam DeVine). Beca and Jesse are meant to found the real emotional crust of the movie; he teaches her about the greats of cinematic soundtracks and about not pushing people away and she... well she doesn't really teach him about anything. Their relationship lacks the real substance that would effectively carry the film based primarily on the fact that they're both cute and microscopically off-center.
And then there are the supporting characters — the Bellas' team of misfits whom we're meant to love. Rebel Wilson leads this pack as the kooky brazen self-decreed Fat Amy. Beside her the sexually-charged Stacie (Alexis Knapp) the quiet psychopath Lilly (Hana Mae Lee) and Cynthia Rose (Ester Dean) whose alluded homosexuality is quite unfortunately the punchline of her character among a few faceless sub-supporting characters. And while the theme does don a sheath of the classic “be yourself” mindset it seems to be more interested in poking fun of these girls and their quirks than it is in celebrating them.
But they do band together they do develop a camaraderie and they do come to compromise their differences in order to better one another and the team. And then comes the final musical number.
See for all of the film's faults there is something it knows how to do: it puts on one hell of a show. As much of a cynical nitpicker as you might be once the Bellas' final performance on the competition mainstage takes way you're bound to enjoy it. Showcasing the individual vocal talents of each of the (primary) singers sewn together in an expertly crafted compilation piece viewers are likely to get a chill or two. This is where Pitch Perfect hits: in its sheer unembarrassed celebration of a capella of music in general and of the girls onscreen. The movie makes the mistake of trying to have it both ways. When it goes for self-deprecation it makes it look all the more unaware of its inherent flaws in plot and character. But in being what plenty of people would be just fine with — an a capella movie that isn't ashamed of loving a capella any more than its over-the-top characters are — it succeeds. Unfortunately this sentiment feels limited to the final performance of the film. But to its credit it's a performance good enough to make up for a whole lot of the stuff that leads up to it.
In this latest doomsday pic Earth's inner core has stopped rotating a situation that will eventually cause the planet's electromagnetic fields to collapse. If it isn't fixed pronto static charges will create "super storms" that will generate hundreds of lightening strikes per square mile and cause microwave radiation to ultimately cook the planet. Government and military officials conjure up a team of scientists led by geophysicist Josh Keyes (Aaron Eckhart) to travel to the planet's core and get it spinning again. Accompanying them are geophysicist Dr. Zimsky (Stanley Tucci) atomic weapons expert Dr. Levesque (Tchéky Karyo) "terranauts" Major Childs (Hilary Swank) and Commander Iverson (Bruce Greenwood) and Dr. Brazzelton (Delroy Lindo)--the renegade scientist who built the subterranean vessel. Their mission is to travel to the center of the earth to detonate a nuclear device that will hopefully jump-start the core and save the world. Like the "terranauts" grinding their way through Earth's layers to get to the planet's core The Core laboriously plods through the storyline to get to its climax--and both are equally uneventful.
Despite a really corny scene in which he demonstrates what will happen to the planet by torching some sort of fruit on a fork Eckhart (Possession) is believable as the sensible Keyes. Co-star Swank (Insomnia) meanwhile brings intensity to the role of fledgling astronaut Childs. It is Tucci (Big Trouble) however who creates the film's most interesting character the arrogant Dr. Zimsky. The diva-esque geophysicist heads to the center of the earth in style with his Louis Vuitton monogrammed canvas bag and an endless supply of cigarettes--making him politically--and refreshingly--incorrect. You'll love how he pompously records the mission's progress in a Carl Sagan-style narration. Back at mission control D.J. Qualls' computer-hacking character Rat mirrors a recent report describing the characteristics of computer virus writers: Male. Obsessed with computers. Lacking a girlfriend. Aged 14 to 34. Capable of sowing chaos worldwide. Qualls (The New Guy) couldn't be more suited for this digital graffiti artist role.
Director Jon Amiel helps define the film's main characters by weaving vignettes of their everyday lives throughout the first half of the film but so much effort is devoted to exploring their individual backgrounds that relationships among the team members are never established. The minor characters are like extras in a Star Trek episode--they're just onscreen to die. The Core also fizzles as a believable disaster movie because of its flimsy scientific reasoning even if you try to suspend your disbelief for the sake of cinematic "escapism." While I can make myself believe for example that a government-created weapon of mass destruction is to blame for the planet's imminent annihilation I cannot buy into the notion that this high-tech vessel was built by a renegade scientist in his backyard and is able to withstand the rough trip to the center of the earth. Although the film's original November release date was delayed because more time was needed to complete the special effects don't expect to be visually dazzled by the voyage. Most of what we see is what the "terranauts" see on their screen: spotty black-and-white renditions of sharp jagged rock. Scenes of the Roman Coliseum getting zapped by lightening and San Francisco's Golden Gate Bridge melting aren't convincing either.