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.
Based on the best-selling book of the same name Fast Food Nation has three intertwined stories revolving around the fast food industry. Don Anderson (Greg Kinnear) is a corporate marketing guy assigned to put a positive spin on the bad news that fecal traces has been found in the meat. He goes to the meat factory to investigate and doesn’t like what he sees but no one offers him a viable solution. Then there’s Raul (Wilmer Valderrama) and Sylvia (Catalina Sandino Moreno) Mexican immigrants who cross the border illegally. The only job they can get is in the meat factory. She bears with demeaning sexual advances while he faces the unhealthy and dangerous conditions to try for the American Dream. Finally we meet Amber (Ashley Johnson) who works in a local franchise. She’s just a high school girl trying to pay for her car insurance. This isn’t her future but it dominates her present. The corporate story is a comedy about ineffective management and media spin. The immigrants’ story is a hard drama about a bad life. Amber’s story straddles both lines--a slacker teen comedy but also introspective about what the job is doing to her soul. It may be no secret these days but it’s still fascinating. There is plenty of juicy dialogue for actors to sink their teeth into (pun intended). Kinnear plays the corporate suit as lovably as possible. He’s the put-upon business cog similar to his characters in The Matador and Little Miss Sunshine but funnier because it’s the system that’s futile not his own dreams. Valderrama has a smaller part just supporting his wife going through a horrible life with noble determination. Moreno is as heartbreaking as she was in her Oscar-nominated performance in Maria Full of Grace. You sense so much potential in her and she’s stuck in the factory demeaned by sexual harassment and unable to save her sister from succumbing to it. She adds new colors of despair to the immigrant experience. Johnson is careful not to make her character too wise beyond her years. She really is just a normal kid. High school sucks so do counter jobs. It’s not about being unique just relatable. Cameos stand out too. Ethan Hawke plays the coolest uncle ever. He comes to town for two scenes spouts off his cool-uncle advice and then leaves. Even though he’s a self-confessed loser he’s convincing. And he buys her beer. Bruce Willis gives a speech on the meat industry with his David Addison smirk while chomping into a burger. We’re sold. Director Richard Linklater does a good job keeping the comedy and drama balanced. He cuts back and forth between stories at sensible intervals. Towards the end Greg Kinnear disappears for a long time but Ashley Johnson’s story beefs up to compensate. Showing the inner workings of the meat factory is pretty powerful. Cow guts falling out and bodies mangled by machinery are not fun things to watch but they are important to remember. It’s all up there on the screen but not gratuitous—and doesn’t have to ruin meat forever. Just think how all foods have processes that we don’t see and still taste good. There are plenty of scenes in which the characters are talking a real Linklater specialty (Before Sunset Before Sunrise for example). Whether they’re talking about meat or minimum wage jobs or life ambitions the conversations have a catchy flow. The satire of corporate America and slacker lifestyles juxtaposed against the drama of immigrant life makes Fast Food Nation both ridiculously funny and appropriately uncomfortable.
As Love Actually begins we are told that perhaps the world isn't such a dire and hateful place that "love actually is all around." Around London anyway. The film explores no less than seven different romantic scenarios within the bustling British capital--all of which interconnect and eventually resolve on Christmas Eve. There's the newly elected dashing Prime Minister (Hugh Grant) who is smitten with his secretary the earthy Natalie (Martine McCutcheon); Karen (Emma Thompson) whose husband Harry (Alan Rickman) has strayed with his seductive secretary Mia (Heike Makatsch); Sarah (Laura Linney) the American wallflower who has a crush on her colleague Carl (Rodrigo Santoro); Jamie (Colin Firth) who falls for his pretty Portuguese housekeeper Aurelia (Lucia Moniz)…there are lots more but you get the gist. As love goes things may not get tied up neatly in brightly colored packages for everyone but there's still enough good cheer to spread around.
Showcasing some of Britain's finest actors Love Actually doesn't have a bad banana in the bunch. Floppy-haired Hugh Grant turns in an endearing performance and proves there isn't a romantic comedy he can't handle. He has an uncanny knack for connecting with any actress he happens to be romancing; in this case it's the adorable McCutcheon best known for the hit British TV drama EastEnders. Rickman and Thompson are quite good as the couple whose long-term marriage is beginning to crack; Thompson especially does a nice job trying to hide her pain while being a happy mom. Linney too shines as Sarah who glows with excitement when she finally gets what she so ardently wished for. Veteran stage and film actor Bill Nighy (Underworld) however steals the show as a carefree aging rock star desperate for a comeback. His Billy Mack smacks of Mick Jagger Keith Richards and Rod Stewart all rolled into one.
"I'm worried that we don't have the word 'massacre' in the title " writer/director Richard Curtis fretted to Entertainment Weekly referring to how horror-loving American audiences might not take to his new romantic comedy that is already a huge hit in Britain. True perhaps a romantic comedy starring a multitude of A-list British actors might not bring in the required masses. But who cares about the money (did I just say that)? Curtis who has written some of the best romantic comedies of the last decade including Four Weddings and a Funeral Notting Hill and Bridget Jones' Diary steps behind the camera for the first time here and is able to give each story a unique point of view from the lovesick to the wacky. There actually may be too many stories in Love Actually but it's a small gaffe. Love Actually is a refreshing good old fashioned warm and gushy movie that takes your mind off the bad things for the holiday season and Curtis should feel confident about his directing debut.
Peter Appleton (Jim Carrey) has it made. His screenwriting career is on the rise his first movie's just been made and he's got a cute girl. Life is good--until the House Un-American Activities Committee mistakenly fingers him as a Communist and he quickly falls from the A-list to the blacklist. Getting dumped by both his studio and his girl is nothing a little drinking can't remedy but after drowning his sorrows he nearly drowns himself when he decides to drive drunk and his car veers into the river knocking him unconscious. When Peter comes to he can't remember who he is or where he came from so he's taken in by the kindly people of Lawson a burg stuck in time and still mourning the loss of many of its sons in World War II. They mistake him for Luke Trimble one of their long-lost boys who went MIA in World War II and are overjoyed at his return. Luke's father Harry (Martin Landau) whose zest for life had dwindled so much that he let his beloved movie house The Majestic fall to ruin but with "Luke's" return he plans to reopen it. Celebrations abound. Peter-as-Luke even returns to his relationship with fiancée Adele (Laurie Holden). Meanwhile Peter may have forgotten who he was but the Feds haven't and they're on his tail.
When Carrey's given the right material like he was with The Truman Show he can exhibit moments of greatness. The Majestic doesn't give Carrey the leeway to show his quirky sensibilities demanding that he play it straight throughout the movie (there are a few--too few--glances at humor that Carrey doesn't play up). To bring off the kind of schmaltz this movie oozes Carrey had to bring something of an edge to his character. Instead Peter is neither likable nor unlikable coming off as a bland confused schmo until the climactic end which after two hours of his weak personality is wholly unbelievable. Landau is unexciting as a caricature of the sad sentimental old man without hope--you want to sympathize but there's something faintly chilly about him. Holden's liberated-woman lawyer might have played better in a contemporary movie; she looks and acts too much like a modern-day actress trying to portray a woman of the '50s.
Was this some kind of vanity project dreamed up by a director too taken with his own greatness and past success? Was Frank Darabont envisioning an It's a Wonderful Life for the next generation? (Psst…it's likely the majority of the modern moviegoing public doesn't know who Frank Capra is and could care less especially when the movie is as slow and as completely unbelievable as this one.) Apparently Darabont's in love with his own direction because hardly a moment goes by without some lingering reaction shot. Darabont took an intriguing story about amnesia and mistaken identity and slathered it with sap. Old-fashioned period stories can be lots of fun but it's imperative they be able to keep a present-day audience's interest by including a bit of modern wit and pace. Unfortunately this sticks to the straight-and-narrow. Nobody's going to buy the two-dimensional main characters the shiny happy townspeople or especially the schlocky my-country-'tis-of-thee finale. In its favor The Majestic's ultimate message is a nice one. The movie does have its heartfelt moments and its '50s feel is authentic if a little polished.