I expected Your Highness David Gordon Green's R-rated sword-and-sorcery farce to be a medieval stoner comedy something in the vein of Monty Python-meets-Cheech and Chong. This was not an unreasonable assumption given a) the film’s clearly suggestive title and b) the fact that its stars (Danny McBride and James Franco) and director previously collaborated on the THC-laced epic Pineapple Express. But I was waaaaaay off. Sure drug references abound in Your Highness but they are relatively benign in comparison to the film’s exhausting barrage of adolescent sexual humor and often shockingly crude language. Less bongs more schlongs is Your Highness' overriding ethos.
Taking care not to stray too far from the winning comic persona established in Eastbound & Down and The Foot Fist Way McBride plays Prince Thadeous a royal ne’er-do-well who lives in the shadow of his handsome older brother Prince Fabious (Franco) gallant knight and heir apparent to the throne of the kingdom of Mourne. While Fabious is out defending his father’s realm against various supernatural threats and earning acclaim for his illustrious deeds cowardly and entitled Thadeous parties with loose maidens and smokes hallucinogenic herbs with his twink-ish toadie Courtney (Rasmus Hardiker). But he finds he can no longer shirk his heroic duties when an evil sorcerer named Leezar (Justin Theroux) crashes Fabious’ wedding and absconds with the crown prince’s fiancée Belladonna (Zooey Deschanel). Urged to aid in his brother’s quest to rescue her Thadeous resists — that is until his father threatens to cut him off from the royal teat.
Very soon into his journey we discover why Thadeous was heretofore so reluctant to join in his brother’s adventures: Quests in the Your Highness universe entail an awful lot of encounters with homoeroticism – both latent and blatant. Knights dress in tights and codpieces and seem unusually affectionate toward one another. The price for advice from the Great Wize Wizard a bedridden seal-like creature wearing what looks to be a jellyfish as a skullcap is an open-mouthed kiss and a handjob. A sassy manservant is stripped of his clothing and revealed to be a eunuch. A tribe of feral women is ruled by a half-naked highly effete cherub-like figure named Marteetee. And so on.
Your Highness reaches its homoerotic apex during a pivotal scene in which Thadeous in his first real act of bravery intervenes to prevent Courtney from being raped by a minotaur which minotaur happens to be sporting a massive erection. Wanting a trophy to commemorate the deed he severs the slain beast’s still-engorged member and hangs it around his neck giving us for the remainder of the film a vivid monument to the filmmakers' most reliable comic device. (It’s an impressive sight – I fully expect “hung like a minotaur” to gain much greater prevalence in the lexicon should Your Highness be a hit.)
Not that there’s anything wrong with that. And Your Highness does throw in a few hetero bits to help balance the sexual ledger especially when the cast is joined by Natalie Portman playing a feisty fellow-quester and McBride’s unlikely romantic foil. Portman should at the very least be commended for being able to utter lines about a "burning in her beaver" with unvarnished sincerity.
Your Highness is often wickedly funny – a filthy spot-on send-up of The Beastmaster Krull and other campy '80s fantasy flicks. But there’s precious little beyond the filth and eventually the bawdy language and infantile shenanigans grow repetitive especially when the plot starts to meander in the second act. Green's primary comic instinct is to aim for shock value — as in Pineapple Express the action in Your Highness is punctuated by cartoonish violence — which grows tedious toward the end credits. His efforts would have been better devoted to expanding Theroux's and Deschanel's roles — they are woefully underutilized — or giving McBride something funnier to say than "motherf*cker."
Miss Potter is a biopic about Beatrix Potter (Renee Zellweger)—the literary phenomenon of the early 20th century who created the hugely popular Peter Rabbit books. The film examines how she rose to fame in Victorian England a time when women were only expected to marry and run a home. As the story begins Beatrix 32 is well-adjusted despite being unmarried and living with her well-to-do parents. An accomplished painter she dreams of publishing her pet animal drawings as well as the stories that go with them and in neat small-sized books perfect for children. Of course most publishers scoff but one decides to publish Beatrix’s “bunny book ” as a lark and soon sets in motion a publishing juggernaut. During the process Beatrix also falls in love with her young editor Norman Warne (Ewan McGregor) and agrees to marry him much to her mother’s chagrin (he’s a “tradesman ” after all). Basically Miss Potter ends up living the life she wants to lead bucking whatever rigid system put before her. Zellweger is playing yet another English rose but this time without the extra weight. Although not nearly as endearing and quirky as Bridget Jones Zellweger’s Beatrix is still plucky and outspoken willing to stand by her beliefs and forge ahead despite the opposition she faces. In other words Zellweger—who won her Oscar playing a similar part in Cold Mountain—could do this in her sleep. McGregor too seems comfortably fitted for the role of Norman an earnest fellow with good moral fiber a determination to succeed and love in his heart for Miss Potter. Veteran British character actors Barbara Flynn (HBO’s Elizabeth I) and Bill Paterson (Bright Young Things) effectively play Beatrix’s parents with Dad Potter being the more sympathetic and Mom Potter being the uptight battleaxe. And finally Emily Watson who does a nice turn as Norman’s spinster sister Millie. A brash intelligent woman who also speaks her mind Millie thoroughly enjoys life as an unmarried woman and quickly takes Beatrix under her wing. Director Chris Noonan waited a decade after helming the Oscar-nominated Babe before finding his follow-up project setting his sights on Miss Potter. There’s definitely some symmetry to his choice with both beautifully framed films having much of the same sweet-natured sensibilities as well as er animals. Much like Finding Neverland which showed how James Barrie came up with Peter Pan Miss Potter works best when Beatrix is standing up for her rights falling in love and drawing her adorable illustrations her “friends ” as she calls them who come to life and talk to her. Thankfully Noonan and screenwriter Richard Maltby don’t have the animated characters actually speak—only Miss Potter can hear them--but its still a clever device and definitely brings up feelings of hearth and home remembering those stories all over again. Unfortunately the film stalls a bit towards the end when the scenery shifts to England’s the Lake District where the real Beatrix Potter eventually retired to and helped preserve for future generations. Still overall Miss Potter is a charming look at one of the literary world’s more successful authors who was also a feminist and an environmentalist. Pretty amazing lady actually.