There's probably still someone somewhere that would fall for one of Sacha Baron Cohen's weird and wooly scenarios but let's face the facts: the days when Ali G. could snag an interview with Pat Buchanan or Gore Vidal are long gone. 2009's Bruno definitely let some steam out of Borat's tires not to mention the ensuing lawsuits. But it's refreshing to see Cohen and his Borat/Bruno cohort director Larry Charles flex their muscles in the fictional universe of The Dictator a vehicle that doesn't skimp on their signature cringe-worthy humor.
The world of The Dictator gives them the leeway to create crazy spectacles — at one point Cohen's General Aladeen rides down Fifth Avenue on a camel surrounded by a giant motorcade. Having a plot helps too; although part of the genius of Sacha Baron Cohen's schtick is how the viewer is made culpable by proxy by our amusement and horror at how he tricks and torments people who aren't in on the joke The Dictator continues the self-reflexive satirical bite. We're certainly not off the hook. Aladeen says and does truly outrageous things but they're also exaggerations of the world we live in. It might be a stretch to call Sacha Baron Cohen the British Lenny Bruce or George Carlin in a face merkin but rest assured that no topic is off limits. If you are offended by jokes about abortion rape feminists body hair race religion politics STDs war crimes ethnic cleansing necrophilia and/or bestiality don't even bother. However if you like the kind of comedy that makes you hide your face in your hands feeling like each laugh is being pried from you against your will you're in business.
Cohen eats up the screen as both General Aladeen and his incredibly dumb body double; the latter prefers the intimate company of one of his goats to a human while the former is a fairly stupid ruthless dictator whose own people are so disloyal to him that they actually ignore his commands to execute people. (He really likes to execute people.) When he arrives in New York City to attend a summit at the UN his uncle Tamir (Ben Kingsley) has the two switched so he can easily manipulate the "General" into signing a treaty to make Wadiya a democracy and reap the financial benefits. Aladeen finds refuge with Zoe a hairy-pitted activist who thinks he's a political dissident and is excited to be able to give him a safe haven in her touchy-feely Brooklyn grocery co-op. Instead of being typecast as another blonde dummy Anna Faris is finally given room to play as the wide-eyed naïf who takes Aladeen's very serious statements as jokes or simple miscommunications. She's a great foil to Baron Cohen who is easily half a foot taller than she is and has a wolfish grin. Their banter is often the most politically incorrect of the bunch but also the funniest.
Alas the plot. It's a bare bones situation to get a very broad character from A to B. Aladeen is obviously an outlandish mishmash of modern dictators; he spouts racist misogynist rhetoric endlessly and after a while...yeah we get it. However like all of Sacha Baron Cohen's humor The Dictator also takes a direct shot at Western countries (specifically the United States) which would be all fine and dandy if he didn't wedge an expository speech in about it as well. The problem with making a traditional narrative movie is that with some exceptions you've got to play within the guidelines. The Dictator isn't trying to do anything fancy; all it needs a few big beats and a neat ending to wrap it all up. It doesn't quite manage to tie it all together in a way that makes The Dictator more than an hour and a half or so of laughing and cringing.
Besides Faris and Kingsley there are a number of cameos by a very wide variety of comics and actors. Megan Fox plays herself Kevin Corrigan appears as a creepy dude who works at the co-op John C. Reilly is a racist security guard and Fred Armisen runs an anti-Aladeen café in New York's Little Wadiya district. The very funny Jason Mantzoukas has a large role as Nadal the former head of rocket science who was supposedly executed for not making Aladeen's nuclear warhead pointy. It's a good ensemble and hopefully Sacha Baron Cohen's next feature-length film will build on The Dictator's weaknesses.
There are two ways to watch a film like Just Go With It. The first is to look at the characters and situations as if they existed in the real world. Through this lens as with most Hollywood productions the story is far-fetched and trite the characters too stereotypical to stomach. However even if you leave practicality at home and well just go with it it’s hard to find anything to enjoy in Adam Sandler’s new movie about a playboy plastic surgeon that convinces his assistant to pose as his ex-wife in an attempt to woo a new lady friend.
Danny Maccabee is afraid of having his heart broken like it was when he was in medical school so he uses his would-be wedding ring from a disastrous engagement as a chick magnet because you know all single ladies love married men. However when he finally meets and beds the girl of his dreams the tactic backfires as she thinks she’s just wrecked a home. Enter Katherine (Jennifer Aniston) Danny’s ordinary (well ordinary when compared to bombshell Brooklyn Decker) office mule who is lured into an ever-expanding web of lies so that he can win his Ms. Right.
The film’s weakest link is its script from writers Timothy Dowling (Role Models) and Allan Loeb (The Switch). Their simple story relies heavily on Sandler’s tried-and-true formula of physical gags and broad family humor offering the audience nothing they haven’t seen before and virtually no organic comedy. While the premise and principle players are very predictable the supporting cast injects some life into the picture most notably young starlet-in-training Bailee Madison whose cutesiness is the only thing I didn’t get sick of throughout the film. Honorable mentions also go to Nick Swardson as Sandler’s crazy cousin and Nicole Kidman who ought to try her hand at comedy more often.
Unfortunately their charm doesn’t compensate for the film’s uneven pacing. I was incredibly bored throughout the second act which is hampered by scenes that play longer than they should but biggest conundrum is Sandler himself: the main draw in Just Go With It as well as its most unlikable element. His character’s arc not to mention his performance is about as artificial as the breasts he gives his clients. Not only is Maccabee a self-centered liar; his deceptions go unpunished as he coasts through the film’s climax into happily-ever-after territory. Some will accept even embrace the Hollywood ending but the conclusion is a loss for Aniston’s character who is otherwise pleasant to watch. A dignified single mother she’s at first reluctant to help Danny due to the immoral nature of his plan but falls for him because he eventually develops a relationship with the kids. I guess she didn’t see him throw them in the mud earlier in the movie.
Generally speaking the greatest strength a contemporary romantic comedy has is its funny factor but director Dennis Dugan unexpectedly creates a comfortable quixotic vibe in Just Go With It which is surprising considering his past endeavors with Sandler (among them I Now Pronounce You Chuck and Larry and Grown Ups). It doesn’t make up for the lack of natural laughs but will sate the target audiences’ appetite for a harmless and forgettable Valentine’s Day snack.
Following a brief history lesson and one of the most asinine opening sequences in recent movie history it becomes apparent that four friends--Caleb (Steven Strait) Pogue (Taylor Kitsch) Reid (Toby Hemingway) and Tyler (Chace Crawford)--possess superhuman powers. In fact the four share an unbreakable bond: Direct descendants of the original settlers of Ipswich Colony during the Salem witch trials of the late 1600s they all inherited their ancestors’ supernatural powers. When they turn 18 they “ascend ” gaining even more potent--but addictive--powers. With Caleb’s 18th just days away his mother (Wendy Crewson) worries about him because each time a magical power is put to use the user ages prematurely and the powers are addictive. But with his girlfriend (Laura Ramsey) in grave danger and an outsider (Sebastian Stan) threatening to infringe on the group’s sacred name and ancestry will Caleb be able to resist? Well it’s official: If you want to break into acting looks are everything. If you look fresh out of the pages of an Abercrombie & Fitch catalog you can act--even if you can’t act! The guys in The Covenant might not be quite that bad but the acting’s just not pretty especially compared to these dudes (it’s a backhanded compliment!). Strait (Undiscovered) Covenant’s resident movie veteran with five films under his belt absolutely has enough Abercrombie in him to warrant infinite chances to get it right but he makes Keanu Reeves look like Robin Williams--or a snail like a cheetah. The rest of the actors tend to overact where Strait underacts. Kitsch a bottle beefcake with one hell of an ironic last name and Hemingway (an equally ironic last name) both seem to think they’re in some throwaway teen horror flick instead of a throwaway supernatural thriller. And the other relative newcomer Stan comes close to decency but undoes his good towards the end. Uwe Boll gets a lot of flak for his films but how ‘bout throwing some hate Renny Harlin’s way?! Harlin has the ability to be a good director--as evidenced on Die Hard 2 and Cliffhanger--but that ability has been M.I.A. for over a decade. Fresh off 2004’s clunkeriffic duo of Exorcist: The Beginning and Mindhunters (the latter not being released until last year) Harlin has unfortunately added to his canon o’ crap with The Covenant. Though not nearly as much his fault as it is the actors’ the film remains a directorial mess no thanks to the muddled script from The Forsaken writer J.S. Cardone. Despite the characters trying to spell the story out for us it’s still somewhat hazy and its brief moments of clarity provide little to enjoy. Nice cinematography allows for scarce fun but such scenes turn the movie into an underwhelming Matrix/Underworld hybrid in place of an actual mystery. All in all some teenagers might appreciate the thrills and the loud music but fans of the occult surely won’t.
Love means never having to say you're sorry; it's a many splendored thing; it's all you need. But in tennis love means zero; it means you lose. Or does it? For Peter Colt (Paul Bettany) a British pro tennis player seeded near the bottom of the world tennis ranks love actually inspires him. After scoring a wild card to play in the prestigious Wimbledon tournament he meets and falls for the rising and highly competitive American tennis star Lizzie Bradbury (Kirsten Dunst) fueling a winning streak he hasn't had since he began his career. For Lizzie however the love thing doesn't necessarily work out as well. Her feelings for Peter become a distraction throwing her off her game. Hmmm. Can these two crazy kids keep it together long enough so Peter can fulfill his lifelong dream of winning the men's singles title even if it means his muse might have to sacrifice her first Wimbledon title?
Kirsten Dunst may be what draws you in but Paul Bettany is the reason you don't walk out. The British actor who made an impression with American audiences playing the oh-so-witty Chaucer in A Knight's Tale and then wowed them in Oscar winners such as A Beautiful Mind and Master and Commander doesn't disappoint in his first lead role. Bettany's Peter embodies all that charm we've come to love and expect in our British actors--although thankfully not as floppy as Hugh Grant--he stumbles about and apologizes profusely. It's so cute. And he makes a pretty darn believable tennis player to boot (one would hope so after the intense training session the actors apparently had to go through to prepare for the movie). Unfortunately Dunst does not fare as well. Her Lizzie is appealing and she adequately handles the tennis stuff--but she ultimately fails to connect with her male lead making their relationship seem forced. Their beginning sparks are fun but when there's suppose to be a real flame igniting between them you're left scratching your head wondering just when where and why they fell in love so hard so fast. Yep that's a big red flag.
I've said sports movies usually work (see the Mr. 3000 review). To clarify: That is team sports. Sport movies where the action revolves around a single competitor are harder to pull off. It's just not as exciting watching an underdog struggle with himself in order to win. Luckily director Richard Loncraine (HBO's My House in Umbria) seems to know this fact. Even though Peter takes Centre Court (that's the British way of spelling it) Loncraine tries to at least create a more complete picture giving us a glimpse into the world of tennis as well as delving into the traditions of Wimbledon and how the Brits feel about the prestigious tournament where British champions are few and far between. Loncraine also utilizes real-life tennis pros such as John McEnroe and Chris Evert who appear as announcers to liven up the proceedings. Even the action on the court with close-up shots of the ball whizzing over the net gets the blood pumping a little--wish there was a lot more of that. But then of course one could just turn on the TV and watch the real Wimbledon instead watching a silly run-of-the-mill romantic comedy set there.
Looney Tunes: Back in Action revisits an age-old Tunes question: Why does the affable Bugs reap all the fame and glory while the egocentric Daffy gets shafted again and again? Our duck friend quite frankly has had it up to his skinny neck playing second fiddle to the carrot muncher. All Daffy wants is a little recognition from the studio but the brothers Warner (actual twin brothers as we come to find out) decide instead to let Daffy out of his contract on the advice of their no-nonsense VP of comedy Kate Houghton (Jenna Elfman). Bugs however knows they're making a mistake. Even though Daff bears the brunt of the abuse Looney Tunes would fail without him and Bugs convinces the powers that be they need the nutty mallard. If the plot had only followed this thread--perhaps showing Daffy on the skids--then maybe the film wouldn't have spiraled into Looneyville. Unfortunately Daffy ends up hooking up with the hunky D.J. Drake (Brendan Fraser) a studio security guard who finds out that his famous movie star father Damian Drake (Timothy Dalton) is really a secret agent hunting for a mysterious diamond known as the Blue Monkey a supernatural gem that can turn the planet's population into monkeys. The evil head of the Acme Corporation Mr. Chairman (Steve Martin) wants the diamond for his own diabolical plans and he's kidnapped D.J.'s dad in an effort to get it. Now the gang has to get the diamond save D.J.'s dad and of course save the world.
It might be a little hard to act subtly around cartoon characters but these aren't your ordinary cutesy Mickey Mouse types. Bugs Daffy Porky Yosemite Sam and Foghorn Leghorn are pros at comic timing able to spar with the best of them throw out zingers without a second thought and slay you with a droll glance at the camera. It isn't really necessary for the human actors to match their madcap-ness; just reacting would have sufficed. Fraser comes off the best of the human bunch; since he's had practice (Monkeybone) he easily interacts with his animated co-stars and deftly handles the doubletakes and jabs at pop culture. Elfman on the other hand sputters and goes bug-eyed every time she encounters silliness. She looks uncomfortable doing the green screen thing especially when she's trying to look natural when peeling a distraught duck from around her waist. Martin's highly anticipated turn as Mr. Chairman turns out to be the biggest disappointment. The over-the-top character is reminiscent of Martin's hysterically funny Rupert the Monkeyboy in 1988's Dirty Rotten Scoundrels but Martin turns Mr. Chairman--an angry schoolboy with knee socks and matted-down hair who never grew up--into a caricature of ridiculous proportions and unlike Rupert who came in small hilarious doses Mr. Chairman gets very tiresome very quickly.
Back in Action's animation is well done more engaging and ambitious than its 1996 predecessor Space Jam in which the action mostly took place in Looney Tunes land; here animated characters go the Who Framed Roger Rabbit? route and Bugs Daffy and the rest coexist harmoniously with humans in the real world. But despite its aspirations Back in Action leaves out vital elements that made Space Jam appealing. While the earlier film stuck to a simple plot Back in Action guided by director Joe Dante (Small Soldiers The 'Burbs) tries too hard to keep things wild and wacky while incorporating elements of '60s heist pics and action-adventure scenes and in the process loses sight of the most important ingredient in any kids movie: the story. Tykes may have limited attention spans but if the story's good they will watch. Granted some individual bits are laugh-out-loud funny particularly the scene in the Warner Bros. commissary where a stuttering Porky Pig complains about being politically incorrect with Speedy Gonzales while an animated Shaggy and Scooby-Doo berate actor Matthew Lillard for playing Shaggy as such a bonehead in the live-action Scooby-Doo. These scenes prove that if any cartoon characters could pass themselves off as real celebrities in the entertainment industry the gang from Looney Tunes could but moments like these simply can't overcome a contrived plot and juvenile antics.