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.
Well if the title doesn’t say it all…Picking up where Alien vs. Predator left off those pesky aliens cause the Predator ship to crash on Earth setting them free near a Colorado town. A lone Predator (Ian Whyte encoring from AvP) comes to Earth to clean up the mess and what the hell maybe pick up a few human trophies too. Needless to say the town’s human residents are completely unprepared for this sort of inter-galactic free-for-all on their streets. This is after all the sort of town where everybody knows everybody but no one seems to notice when a spaceship crashes in the woods outside of town or when the self-same spaceship blows up the next day. In short you could say that they get what’s coming to them--and they sure do. Pretty dreadful all around. Then again Shane Salerno’s script is pointless to begin with. Steven Pasquale (TV’s Rescue Me) plays the ex-con hero Dallas (a nod to the original Alien). Reiko Aylesworth (TV’s 24) plays a veteran of the Gulf War who returns stateside just in time to engage in another one--a pretty pale homage to Sigourney Weaver’s Ripley character. John Ortiz plays the local sheriff one of the dullest (and dumbest) screen lawmen in recent memory. Veteran Robert Joy drops in briefly as a weasely U.S. Army colonel who would just as soon nuke the town as try to save it. Every time this film focuses on the (one-dimensional) human characters it stops cold. Unfortunately this happens a lot. There’s no reason to root for them because you simply don’t care. True to form most of them are sliced diced chopped lasered exploded from within and otherwise treated in a shabby fashion. They are simply fodder. Just for the record this is the sixth Alien film and the fourth Predator film and it holds the dubious distinction of being the worst of any of them. The special effects are just dandy but not much else is. This also marks the inauspicious feature directorial debut of noted visual effects artists Colin and Greg Strause (billed as “The Brothers Strause”). They clearly have an affinity for this sort of thing--and for the Alien and Predator franchises--but are just as clearly content to simply let the special effects run away with the story. The first Alien vs. Predator movie was no great shakes but it was better than it had any right to be. This one is not. Responding to the fans who wanted this film to be R-rated the Brothers Strause have delivered on that--and absolutely nothing more. It’s a pointless exercise.
There are distinct echoes of Alan Alda’s The Four Seasons and Lawrence Kasdan’s The Big Chill here as the film focuses on four couples who have been friends since their college days. Periodically they get together and ask themselves the title question as they re-examine their relationships. There’s Janet Jackson as Patricia the college lecturer whose best-selling book is based on her friends’ relationships. Patricia and her husband Gavin (Malik Yoba) are trying to hold their marriage together after the loss of their young son in a tragic car accident. The cocky Mike (Richard T. Jones) flaunts an adulterous relationship in front of his insecure overweight wife Shelia (Jill Scott) who is completely oblivious to the deception. Terry (Perry himself) is a successful pediatrician trying to convince his wife Diane (Sharon Leal)--a successful attorney in her own right--to have more kids. Marcus (Michael Jai White) a former pro football player merely tries to get through the day without a tongue-lashing from his acerbic wife Angela (Tasha Smith) a woman not known for keeping her opinions to herself regardless of how appropriate the circumstances. All of them find themselves confronting career demands family demands infidelity incompatibility and mistrust--all while drinking far too much wine. Needless to say before their get-together is over a number of secrets will be divulged and each couple will find their relationships shaken to their respective cores. Forgoing the housedress of his cinematic alter-ego “Madea ” Perry proves an affable screen personality quite relaxed within the ensemble. Jones doesn’t go out of his way to make Mike in any way likable which makes his one of the more memorable and clearly defined characters in the entire cast. Although Smith gets all the sassy lines White easily steals their scenes together with a surprisingly appealing comic turn. Hunky Lamman Rucker plays a dreamboat sheriff who finds himself drawn into this ever-shifting circle of friends. The women have a tougher go of it with Jackson giving a tremulous performance that makes her character almost disappear into the background. Yoba is also low-key although more affectingly so as her onscreen spouse. Leal does what she can with the stock role of a career woman who takes her home life for granted but she fares better than Scott whose crying scenes--and there are more than one--ground the story to a halt. All told however the ensemble cast has an easy and relaxed chemistry together which keeps the film--as soapy as uneven as it often is--afloat throughout. Tyler Perry doesn’t open up his stage play to any major degree preferring to leave the emphasis on characters and dialogue--both of which incidentally he has created. Perry tends to approach these intricate topics with broad (but not irrelevant) strokes but he’s not about to tamper with a successful formula. Like most of Perry’s previous films (Diary of a Mad Black Woman Madea*s Family Reunion et. al.) Why Did I Get Married? runs on a bit and overstates its case but its heart’s in the right place.