September 02, 2010 11:19am EST
When the animated opening credits of Warner Bros. Going the Distance begin a barrage of colorful images envelope the screen shaking and shifting to the sounds of contemporary pop-rock like a hipster-chick in a SoHo lounge. It sets the tone for a lighthearted but levelheaded romantic comedy that like the music is cool and crafty but not completely above the clichés of the tried-and-true genre.
Making her feature-film directorial debut Oscar-nominated documentarian Nanette Burstein (On the Ropes) set out to make a film that as she put it “would feel as real as possible” – a tough job when taking on a studio comedy. But with a relatable premise a punchy script and a cast that possesses a ton of personality she succeeds at delivering a surprisingly fresh film that chronicles the pros and cons of a long-distance relationship between Justin Long’s Garrett and Drew Barrymore’s Erin.
The first half hour is filled with the standard situational set-ups and character introductions that one expects from any film. We learn everything we need (and want) to know about Garrett and Erin: He’s a New York record label workhorse and she’s an aspiring journalist interning at a metropolitan newspaper. They frequent the same dive bar in downtown Manhattan and have a beer and barbeque-wings fueled fling which turns into a steady summer-long relationship. But all good things must come to an end and as September approaches she prepares to head back to Stanford for another semester much to their mutual dismay. However the feelings between them are sincere and they decide to give their spatially challenged relationship a shot.
Real-life couple Long and Barrymore have a few touching moments throughout the film mostly when the trials of their long-distance relationship take a toll but they are a bore in comparison to the supporting cast. Jason Sudeikis and Charlie Day bring frat-house etiquette and bro-mantic charm to the movie as Garrett’s best friends Box and Dan. Together they are the living embodiment of testosterone and man-child — archetypes that have become all-too common in current rom-coms — but with legitimately funny performances they really pay off. Christina Applegate is good for a load of laughs as Erin’s older sister Corinne who is skeptical of Erin’s eagerness to engage in yet another risky romance; she steals the show with her unrelenting commentary.
Going the Distance doesn’t break new ground within the genre or redefine cinematic romance but it balances the sweet and sour moments of its story very well. Burstein minimizes the drama and keeps the comedy raw to maximize the entertainment value of the movie which should please all who purchase a ticket. Somehow the long distance dilemma hasn’t been tackled on film before and that makes the movie appear to be more original that it really is but in a year where so few romantic comedies have brought the goods (The Back-Up Plan Sex and the City 2) Going the Distance does just that.
Poor Piglet. It's hard to be a misunderstood little pink guy in a big ol' world. Winnie-the-Pooh Eeyore Tigger and the other denizens of the Hundred Acre Wood are always making big plans including the most recent--to harvest some honey--yet they always leave Piglet out. It's not because they don't like him; they just think he's too small to help and that's enough to give anyone an inferiority complex. A dejected Piglet walks away and when his friends realize he's gone and can't find him anywhere they use his scrapbook which outlines all the fun adventures they've had as a map to find their little friend. In the process they discover that this "Very Small Animal" has had a bigger influence--and been a bigger hero-- then they ever imagined.
Never before have animated characters been so indelibly stamped on our imaginations than those of A.A. Milne's classic Winnie-the-Pooh stories brought vividly to life by Walt Disney. Although most of the original actors who lent their voices to the characters including Sterling Holloway who first gave us the Pooh's gravely drawl in 1966 have passed on their replacements carry on their work very well. The personalities are all there: cuddly Pooh willing to partake of your honey; rambunctious Tigger ready for a bounce; jittery Rabbit eager to pass judgment; sad-eyed Eeyore the doom and gloomer; the motherly Kanga and her active youngster Roo on hand to help out; the know-it-all Owl spouting advice; the watchful Christopher Robin presiding over the adventures; and of course the ever-loyal Piglet the unobtrusive voice of reason.
Disney first started turning the classic Pooh stories into short animated featurettes in 1966 with Winnie the Pooh and the Honey Tree but only just released its first full-length feature film in 2000 with The Tigger Movie. Now it's Piglet's turn and it's about time they made a movie about the little guy. With his unassuming ways but dogged determination to help his friends Piglet infuses all the heart in the Pooh tales--and gets little recognition for it. To center the story around him gives a great message to the little folks out there: that they too can make a difference. Piglet's Big Movie doesn't pretend to be one of Disney's most lush animated films but the original songs by Carly Simon give the simplistic storytelling an invigorating boost.