When James Cameron changed the landscape of 3D stereoscopic filmmaking with his groundbreaking blockbuster Avatar I'm sure he still had misgivings about the final product. He couldn't include a scene in which eggs are thrown towards camera. There was no moment where Jake smokes marijuana and blows it off screen. Not a single character pleasured themselves and released out into the audience. Maybe in the sequel.
Thankfully for those looking for that immersive corporeal experience there is A Very Harold & Kumar 3D Christmas a foul hilarious and surprisingly heartwarming holiday experience that utilizes its eye-popping technology to take gross out humor to a new level. If you're not already on board with the previous stoner antics of Harold (John Cho) and Kumar (Kal Penn) from White Castle and Escape from Guantanamo Bay it's safe to say that 3D Christmas won't be roping you back into the series but for fans the movie steps up the franchise's game. Writers Jon Hurwitz and Hayden Schlossberg take the three years since the last film into consideration putting the duo on opposite ends of the maturity spectrum only to have them reunite for a zany Christmas adventure. The results are rather touching.
We pick up with Harold now a suit-wearing Wall Street type bending over backwards to make Christmas perfect for his ball-busting father-in-law (Danny Trejo). Adding to the stress are his wife Maria who is anxious to have a baby despite the couple's inability to do so and his next door neighbor Todd (Tom Lennon) who would do anything to be Harold's best friend. Kumar is his antithesis—burnt out baked and broken up over the termination of his relationship with Vanessa. When a mysterious package addressed to Harold lands on Kumar's door (he hasn't lived there in years) the medical school dropout takes a ride to his former cohort's white picket fence house. The package is exactly what you'd expect: an enormous joint. Admitting he doesn't smoke any more Harold throws the weed away—only to see it magically return and burn down his father-in-law's Christmas tree.
Like its predecessors Harold & Kumar 3D takes off from its wacky catalyst and shoots directly (and without regret) into outer space. Without hesitation Harold and Kumar's quest for a Christmas tree takes them from a terrifying tree yard run by RZA a coked-out Christmas party thrown by the teenage kids of New York's deadliest gangster and a holiday stage show starring—you guessed it—Neil Patrick Harris. The movie piles on gags and inside jokes (the movie winks at the camera with Star Trek and White House cracks) but few fall short thanks to their clever execution and two characters Cho and Penn help us give a damn about. Even in its lamest moments—Todd's baby finding her way into a variety of drugs is one of the movie's running gags—Harold & Kumar 3D still pops. Director Todd Strauss-Schulson squeezes every bit of silliness out the movie's various scenarios adding a dash of nostalgia for fans and making the entry worthy of the original. Even Harris outdoes himself (and the man road a unicorn in movie #2) riffing off his own homosexuality which we learn is really just a play to get more woman to take their clothes off. Obviously.
If the traditional holiday classics haven't been quite your style Harold & Kumar 3D is a more-than-worthy addition to the Christmas movie pantheon delivering on warm and fuzzy friendship cliches while filtering it through bathroom humor and bong water. By the time Harold and Kumar trip and turn themselves into claymation you'll either be cackling with laughter or on the way out of the theater. Me? I was high on it.
The film follows the journey of the title character (Kirsten Dunst) the winsome sweet-natured teenage archduchess of Austria who is dispatched by her family in the late 1700s into a politically advantageous marriage to Louis XVI (Jason Schwartzman) the future king of France. While the trappings of the royal palace at Versailles are as extravagant and glamorous as any traditional historical biopic the heart of the film is Marie Antoinette’s smaller more emotional world as she struggles to fit in with the puzzling customs and often-stern judgment of a foreign court. She must also fulfill her duty to her own nation—namely producing an heir to safeguard their political status a task that proves increasingly frustrating as she romances her maddeningly reticent new husband. Much like any modern young woman in our era of airhead heiresses she initially soothes her angst by indulging in excessive shopping sprees wild parties and flirtations with a hunky war hero. But she also eases into her role on the throne only to find that her starving angry peasant subjects have taken a harsh view of the gossip surrounding her profligate behavior as they mount the French Revolution. As a child actress who worked steadily into her teens and early twenties Dunst has always been a fresh sunny presence on screen in popcorn films like Bring It On but who could also reveal an ability to access darker corners as she did in her debut performance in Interview with the Vampire and in Sofia Coppola’s directorial debut The Virgin Suicides. But after her breakthrough role in 2002’s Spider-Man most of Dunst’s subsequent efforts seem to have be chosen more to build her Hollywood stardom than challenge her acting skills and perhaps unchallenged she delivers performances more competent than compelling. Marie Antoinette is a welcome return to a more complicated and conflicted role and she rises to the challenge admirably with her most appealing and most affecting turn to date. Utterly capturing the queen’s evolution from naïf to sophisticate gaining wisdom and maturity from her youthful frustrations and overindulgences Dunst makes Marie’s plight utterly relatable and imbues virtually every scene of the film with a watchability that outdoes even the luxe production design. In only her third—and most ambitious—film writer-director Sofia Coppola continues on her hot streak. Already one of the most atmospheric and subtle helmers working in Hollywood she not only marries her modern dreamlike style to the opulent visuals of a historical drama she effectively redefines Marie Antoinette in a way that any alienated over-her-head teen of today could appreciate while also showing just why the population at large might have considered her a monster. As Coppola is the quiet introspective daughter of a revered famously over-the-top filmmaker she too was thrust into a sophisticated world at an early age and was with her much-panned acting turn in The Godfather Part III certainly misunderstood by the public if not reviled. One is tempted to think a certain reliability applies to her success with her story. But her assured skills as a filmmaker are what really make Marie soar—even her experimental touches such as the use of anachronistic music on the soundtrack (the Strokes Bow Wow Wow New Order and others appear alongside Vivaldi). It make perfect sense in context the kind of tunes a disaffected adolescent might play in her bedroom while wondering why no one understands them. That’s just the icing; the rest of Marie’s delectable cake is well worth eating.