Using the formula so many unsuccessful romantic comedies have employed before it (looking at you Valentine's Day) What to Expect When You're Expecting wrangles a cast of big name stars but drops them in roles perfectly aligned with their sensibilities. Paired with a relatable central concept — one way or another we've all seen a side of pregnancy — director Kirk Jones (Waking Ned Devine) pulls off a comedy that's sweet poignant and most importantly funny. The experience of having a baby presented in the film isn't glorified or glamorized nor is it a one-person job resting on the women's shoulders making What to Expect a blockbuster comedy that delivers a little something for everyone.
Taking place primarily in Atlanta What to Expect bounces back and forth between a handful of couples with babies on the brain: Wendy (Elizabeth Banks) and Gary (Ben Falcone) are desperately trying to get pregnant while Gary's NASCAR legend father Ramsey (Dennis Quaid) is (frustratingly) having no problem with his trophy wife Skyler (Brooklyn Decker); Weight loss TV personality Jules (Cameron Diaz) takes home the top prize at a celeb dance-off at the same time she discovers she's carrying her dance partner Evan's (Matthew Morrison) child; Holly (Jennifer Lopez) and Alex (Rodrigo Santoro) are finally ready to take the plunge into the world of adoption but the actual process turns out to be an uphill battle; and Rosie (Anna Kendrick) a food truck owner has a wild night out with her competition (and former flame) Marco (Chace Crawford) that puts them both in a difficult situation. If you guessed she's pregnant you'd be correct.
What to Expect's DNA is a closer to match Woody Allen's Every Thing You Always Wanted to Know About Sex *But Were Afraid to Ask than anything out of the generic rom-com playbook. The screenplay from Heather Hach and Shauna Crossm is sharp with even the silliest and most expected gags landing thanks to the comedic talents of Banks Diaz Kendrick and the wicked rapport of the "Dude's Group " sporting Chris Rock Thomas Lennon Rob Huebel Amir Talai and Joe Manganiello. Even Decker who outshines her costars in Battleship holds her own taking the bubbly blonde to a whole other level
The movie makes a bold move to mix the less shiny moments of pregnancy in with the broad comedy and the results are mixed. Rosie and Marco's struggle with their accidental pregnancy takes a dramatic turn that doesn't feel earned in the grand scheme of things. Kendrick handles it with grace but pregnancy in its darkest moments require breathing room and with so many stories to juggle What to Expect can't afford it. Jennifer Lopez is the movie's biggest weakness a thread that never digs deep (or illicit laughs) from the roller coaster ride of adoption. The couple's predicament forces J.Lo to stick mostly to pouting and is completely overshadowed by the movie's highlights.
Thankfully those highlights are plentiful. Whether Diaz is spoofing Biggest Loser with her satirical take on TV personalities Banks is having a meltdown during her keynote at a baby expo or Rock is delivering a profanity-laden soliloquy on why dads need to man up What to Expect keeps laughs coming. Hollywood rarely gives birth to a comedy that's both hilarious and honest. What to Expect hits both chords defying expectations.
Starting near the end of his short 24-year life and then told in flashback this film version of Christopher “Notorious B.I.G” Wallace’s (Jamal Woolard) rapid rise from the streets of Brooklyn to fame is told in standard-issue Hollywood biopic style. We see this Catholic honors student (played by his real life son Christopher Jordan Wallace) become a teenage drug dealer and accidental father before a chance recording finds its way to Sean “Puffy” Combs (Derek Luke) who engineers an almost immediate rise to fame fortune -- and trouble. “Biggie” now must juggle his newfound recording career a marriage to fellow artist Faith Evans (Antonique Smith) his romantic encounters with female rap comer L’il Kim (Naturi Naughton) and a major East Coast/West Coast rivalry with Tupac Shakur (Anthony Mackie) that leads to tragedy for both. As Wallace Brooklyn rapper Woolard is almost indistinguishable from the real man himself. He’s completely convincing performing B.I.G’s biggie hits and proves himself to be a first-rate dramatic actor as well -- at least in a story like this that he can clearly relate to. As his mother Angela Bassett makes the most of limited screen time (despite top billing) and expertly conveys the angst of a parent fighting a losing battle for her son. Luke again shows why he is so promising playing Puffy with just the right amount of flash and supreme confidence. Unfortunately the “balanced” portrait of Combs and many others in B.I.G’s life is tainted by the fact this film was produced by some of the real life players including his managers mother and executive producer Combs. George Tillman Jr. (Soul Food) directs this by-the-numbers account of Biggie’s life in a style we have seen countless times before. Except for a couple of occasions he doesn’t even let the rap sequences play out to give us an idea of how this guy whose songs reflected his rough Brooklyn lifestyle could climb to the top so fast. Whatever was special is lost in what appears to be a brazen attempt to sell soundtrack albums.
About 10 years ago the residents of Springwood ended Freddy Krueger's legendary reign of terror by drugging the town's teens to prevent them from dreaming and locking away the ones who wouldn't forget the master of nightmares. But as Freddy points out "being forgotten was a bitch." In order to emerge from his purgatory Freddy needs to instill fear back on the 1400 block of Elm Street--and he thinks he has found his ticket with the hockey-mask-wearing serial killer Jason Voorhees. Taking the form of Jason's dead mother Freddy invades Jason's dreams and instructs him to leave Crystal Lake and head to Elm Street to do some slaughtering. The plan actually works and as the town becomes fearful once more Freddy is able to prey on their vulnerability. But whom will Freddy torment if Jason slashes all the teens in town? As advertised by the studio the two '80s horror icons eventually engage in the ultimate showdown. Moviegoers however will have to check out the movie to find out who wins the face-off but the question is is it worth it? If you are not a fan of either franchise be prepared to sit through a shoddy story that is missing the tension and buildup so prevalent in Wes Craven's original 1984 thriller A Nightmare on Elm Street. If you are devotee the melding of Freddy and Jason on the big screen is a pretty delicious treat but the battle's outcome may ultimately frustrate fans.
Almost 20 years ago Robert Englund gained cult status as Freddy Krueger--a horror icon as recognizable as Boris Karloff's Frankenstein. Now Englund's name has become so synonymous with this character that replacing him would be catastrophic--and with good reason; this character actor is cause enough to go see the Freddy vs. Jason. This is Englund's eighth time going under the putty knife and he appears to still be having a blast playing Freddy. Although the character's physical appearance hasn't changed a bit (he still wears that skanky striped sweater and his razor fingers are still charmingly low-tech) but his quips are more sarcastic than ever. "What's the matter Lori " the dream-crasher taunts his victim. "Miss your wake-up call?" Former stunt performer Ken Kirzinger portrays Freddy's challenger Friday the 13th's Jason Vorhees. Different actors portrayed the character in 6 of the 10 installments of the Friday series; the last four sequels starred Kane Hodder. But since Jason sports a hockey mask and doesn't talk he doesn't have many personality traits to note--unless you count his slashing technique. So while Kirzinger is a convincing enough Jason it's safe to assume this stunt man was probably hired more for his ability to crash through glass and go up like a human torch rather for any likeness to Jason.
Director Ronny Yu who helmed the psycho doll thriller Bride of Chucky in 1998 is no stranger to the horror genre. Freddy vs. Jason is well done especially Yu's subtle transitions from the characters' realities to dreamland. This is where the director manages to inject a bit of tension into the film by playing mind games with the audience: When a character heads towards imminent danger the audience is never sure if they have fallen asleep and are dreaming or if what is happening is real--until a visual clue pops up like a bleating goat appearing where it clearly doesn't belong. Yu does this with a sense of humor and a bit of '80s nostalgia which is sure to please connoisseurs of the franchise. But the problem with Freddy vs. Jason is that it is so busy not taking itself too seriously that it fails to instill fear. Screenwriters Damian Shanning and Mark Swift had the thorny task of blending Freddy's supernatural and somewhat intellectually superior storylines with Jason's thuggish slasher plots and the result is story that leans more towards the brutish. The buildup and tension that made Nightmare on Elm Street so eccentrically frightening is gone and Freddy is brought down to Jason's level forced to fight physically rather than use his manipulative mind power. Watching the two malevolent entities hacking away at each other Freddy and Jason have almost been reduced to standing jokes.