WHAT IT’S ABOUT?
With a built-in rabid fan base from its five seasons on the Disney Channel it was only natural that Hannah Montana would find her way to theaters. And for the faithful it doesn’t disappoint. The plot for the movie version has Miley Stewart in over her head because her secret pop persona Hannah Montana is overwhelming every part of her life. When her father decides enough is enough and takes her back to their home town of Crowley Corners Tenn. she finds that it's not so easy to adjust again to country life. But with the help of some just plain folks and a budding romance Miley discovers there’s more to being successful than just show business fame and fortune.
WHO’S IN IT?
Miley Cyrus takes her wildly successful Hannah Montana persona to the movies fills it with heart and scores on the big screen. She’s sweet funny and beguiling in a role that of course fits her like a glove. With all or part of 13 songs and musical numbers she also proves her hit-making abilities are no fluke with standouts like a hip-hop hoedown and the emotive “The Climb ” which she socks home in a concert sequence near the end. Father Billy Ray Cyrus pretty much plays himself and seems comfortable in the role if nothing more. As her grandmother Margo Martindale is warm and always dispensing nuggets of advice. Lucas Till makes an awkwardly offbeat romantic interest as her childhood friend who sees the real Miley behind the Hannah mask and there’s nice support from Jason Earles as her brother and Emily Osment as a best friend. Vanessa Williams is also around bookending the film as Miley’s trusted protector and publicist. And look for quick cameos from Taylor Swift and Tyra Banks.
No one is going to win any Oscars but the Hannah Montana movie version goes down easy and makes a natural theatrical transition smartly returning the star to her country roots and giving the film a different flavor than the sitcom from which it emerged.
Like any homogenized Disney product it all seems a little too contrived and too pat at times but the enormous kid audience to whom it's aimed won’t care a bit.
They may be stealing one of the oldest gags in comedy but the dueling-dinners scene in which Miley and Hannah keep switching personas is amusingly played out and perfectly timed. Cyrus really gets to show her comic chops here.
NETFLIX OR MULTIPLEX?
If you have a daughter it’s inevitably gonna be both.
On the outside Charlie Bartlett (Anton Yelchin) couldn’t be further from the mold of a “normal teenager.” He wears a suit everywhere he is precocious and he has a spring in his step that suggests oblivion to his high school surroundings. Of course Charlie isn’t really at all oblivious and at his core is very much that “normal teenager”: He wants only to be popular. After starting anew at a public school--because he got kicked out of yet another private school for distributing fake IDs--Charlie is promptly pummeled for the way he dresses by the school’s bully (Tyler Hilton). He complains to his psychiatrist whom his mother (Hope Davis) keeps on retainer. The shrink decides to put Charlie on Ritalin. Ever the entrepreneur Charlie tries to parlay his easy access to drugs into popularity and it works like gangbusters. Before long “Dr. Charlie” is listening diagnosing and prescribing drugs to the entire student faculty. He’s got the popularity the trust and the girl (Kat Dennings) the latter of which just happens to be the principal’s (Robert Downey Jr.) daughter. And that relationship--not to mention the slight legality issue of prescribing controlled substances to minors--threatens to ruin his whole operation. Yelchin (Alpha Dog) is a Hollywood rarity: He’s an ‘it’ boy because of his acting not his looks (sorry Anton). Rarer still is the fact that Yelchin’s actual age is near that of Charlie Bartlett and not since the days of Freaks and Geeks has that industry taboo been broken so successfully. It’s all a credit to the young actor who in the span of Bartlett oozes everything from vulnerability and precociousness to Ritalin-induced mania and the theatricality of a much older actor. There’s nothing he can’t do in this movie; the same goes for his acting future. And the same goes for his adversary in Bartlett Downey Jr. although that’s been abundantly clear for decades now. Downey Jr. is famous for making seemingly effortless work of a complex character which is precisely what he does with Principal Gardner--a concerned parent recovering alcoholic and dutiful high school enforcer/villain. He’s a force to be reckoned with on screen and when Yelchin’s Charlie finally squares off with him the scene is a thing of beauty. As an essential link between those two characters Dennings (40-Year-Old Virgin) is a credible charmer and refreshingly the rare non-ditzy non-clichéd high school-portrayed girl we’re used to seeing. Rounding out the cast is Davis (American Splendor) aka Laura Linney-in-waiting. Her clueless alcoholic mom is a source of laughs and ultimately sobriety--for the character and us. For the first time in his decades-long career Jon Poll trades the editing room for the director’s chair. And after seeing Bartlett it makes sense that Poll who has edited movies like Austin Powers in Goldmember and Meet the Parents/Fockers is a behind-the-scenes veteran but a rookie helmer. His debut is fresh and loose but also very sure-handed. The movie is constantly a pleasant unclassifiable surprise spurning both the raunchiness of teen comedies and the pretention of psychology dramedies. The result is something far less precious and opaque than Wes Anderson’s Rushmore--to which Bartlett bears a broad thematic resemblance--yet a sharp commentary nonetheless. To that end Gustin Nash’s debut screenplay is just as impressive as his director’s rookie effort. His writing is clearly steeped in satire namely how loose today’s doctors are with the prescription pads--especially when it comes to our children--but it’s also able to be sweet and real when necessary. It’s the most impressive screenplay debut we’ve seen in a while--gold standard Juno notwithstanding--and the directorial one isn’t too shabby itself.