It's an impressive feat for a movie to be strange and forgettable, subversive yet littered with crass product placement. Escape from Planet Earth manages to be all of these things and more. In this world, aliens are abducted by government officials, Roswell is an intergalactic work camp, an Army general is conducting an online affair with a sexy alien lady, and the stoners who work or hang out or whatever at 7-11 ply their new little blue friend with a matching blue Slurpee. Sounds promising, right?
Not entirely. For the most part, the plodding plot is driven by a lackluster sibling rivalry between Gary Supernova (Rob Corddry) and his lantern-jawed brother Scorch (Brendan Fraser). These little blue dudes live on the planet Baab and work at BASA, which is (obviously) Baab's version of NASA. Gary's the nerdy mission control guy who saves his brother's butt when Scorch is off being a bad ass astronaut. A plodding series of events lands them both on Earth, a planet full of violent, devolved creatures where aliens from across the galaxy routinely go missing. There, they find the devious General Shanker (William Shatner) is snatching otherwise peaceful aliens and putting them to work on building a giant weapon that will destroy the universe. The other aliens Gary and Scorch run into are way more interesting and fun than the folks they left behind on Baab — a cafeteria food fight between Roswell employees and the aliens is more entertaining than 90% of the interactions between Gary and Scorch — which is a bummer since Gary's wife Kira (Sarah Jessica Parker) is hot on their heels to rescue them. Lena, the head of BASA, is a lovelorn villainess (Jessica Alba) who would be willing to blow up the world for a hot human with an Elvis pompadour that she met online. She and Kira used to be coworkers but now Lena's like, whatever, now you're a stay-at-home mom! And Kira's like, I will kick your butt. And so on. The female characters in the movie are pretty decent, all things considered.
Still, Escape from Planet Earth is a bit of a mess. Are we rooting for family values? Or railing against how silly humans are? Or constantly, odiously plugging 7-11? There is also auto-tuned music on the soundtrack, although it's not clear if this was yet another invention of the aliens (like the iPhone, Facebook, the Internet, and Pixar, according to one montage) or yet another example of how humans have devolved. Adding to the confusion: a sexy news reporter alien voiced by Sofía Vergara.
Escape from Plant Earth seems like its plot was originally cooked up by some sorta cool goofy dudes — I mean, Steve Zahn and Chris Parnell as stoners who work at 7-11? Pretty funny! — that was then wrangled into something a little more family-friendly. (Vis the website, which is littered with seals of approval from the Parents Television Council and the Dove Foundation.) It's not that it's particularly bad, it's just not something that sticks with you in any meaningful way. The rest of the voice cast is pretty good, like Craig Robinson as a cool talk radio "therapist" alien and Jane Lynch as a one-eyed librarian from the sun with anger management problems. It's just that there's so much other stuff happening that isn't particularly gripping. Like the crux of the entire story. Who cares if Gary and Scorch ever make up? Who cares that Kip thinks his dad is a pantywaist? You really don't. In a world where film-lovers of all ages can be challenged, entertained, and moved by animated film, it's entirely fair to expect more of family films.
(Escape from Planet Earth is available in 3D, but for expediency's sake, I saw the 2D version.)
[Photo Credit: The Weinstein Company]
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A character drama with a twisted sense of humor Silver Linings Playbook follows Pat (Bradley Cooper) a recently released psychiatric hospital patient who moves back in with his parents and begins a quest to reclaim his broken marriage. Despite the warnings from doctors Pat's mom Dolores (Jacki Weaver) and dad Pat Sr. (Robert De Niro) take him in hoping familiar settings and a little Eagles football may be the perfect cure. It isn't — Pat continuously loses his s**t over his ex-wife Nikki frantically stressing over her high school English class' reading syllabus (he toss Hemmingway's A Farewell to Arms straight through a glass window) and breaking down every time he hears their wedding song. There's no hope for him and Nikki — catching her with another man and beating him to a pulp led to his institutionalizing — but Pat's focused mind doesn't let him deviate.
After being invited to a friend's house for dinner Pat meets Tiffany (Jennifer Lawrence) who sees a friendship in the bipolar patient. After the death of her husband Tiffany went off the deep end engaging anyone and everyone for sex. She's sees a companion in Pat and although he's reluctant the off-kilter pair can't fight the magnetic power of their psychological issues.
Most of their conversations end in screaming or blunt admissions — but they're relatable.
Mental illness and human connection may sound like an equation for eye-roll-worthy saccharine but director David O. Russell mines Cooper and Lawrence's comedic strengths to turn Silver Linings Playbook into one of the funniest movies of the year.
Nothing is off limits for Russell; one reoccurring joke is that Pat can't stop bringing up the fact that Tiffany's husband is dead. As Tiffany puts it to Pat, "You say more inappropriate things than appropriate things."
To make Pat aware of how his bipolar existence affects the people around him and to make us the audience feel for this heart-wrenching experience Russell shoots and paces Silver Linings Playbook for awkward comedy.
He also returns to the always-reliable family dynamic. The Fighter is to Boston as Silver Linings Playbook is to Philadelphia De Niro perfecting the Eagles-loving everyman with a collection of betting buddies who may be just as delusional as Pat.
The legendary actor proved he had comedy chops in Meet the Parents but here he blends it with gravitas that earned him a legacy in the first place. Rush Hour actor Chris Tucker also pops up as Pat's good friend from the institution. More restrained than ever Tucker helps add warmth to the picture. Pat has a support system everywhere he turns. In essence the film emanates with positive vibes.
Even with a great ensemble Silver Linings Playbook is Cooper and Lawrence's show. To the bitter end Pat and Tiffany never get sappy with one another always at each other's throats over the feelings they harbor and the pasts they can't shake away.
Cooper loses himself in the chaotic mind of Pat without ever slipping into a caricature of the mentally ill. He can stir up laughs with his desperate search for Pat's missing wedding video and then shock us in the blink of an eye when things turn violent.
Impressively Lawrence's Tiffany is never written down. She never succumbs to being a comforting presence always provoking Pat to push himself.
She's a strong woman but a strong woman juggling her own set of issues. Lawrence conveys all of that without missing a beat. That dynamic should be make Silver Linings Playbook the talk of the town come Oscar time.
Douglas McGrath’s new movie I Don’t Know How She Does It is based off of Allison Pearson’s wildly successful novel of the same name that was on The New York Times’ hardcover bestseller list for 23 weeks. Both mediums focus on the complicated life of Kate Reddy (played by an I'll admit it enjoyably perky Sarah Jessica Parker in the movie) who is the woman all working mothers want to be: smart determined and fiercely passionate about doing everything she can to balance her family with her high profile job at an investment banking firm. She’s the mom who’s thoughtful enough to try and distort a store-bought cherry pie with a rolling pin so it looks more homemade for her daughter’s bake sale and the one who finds joy in searching for a clean blouse that doesn’t have the marshmallows from her son’s Rice Krispies Treats soaked into it. Of course Kate dreads leaving her children each day but she loves her job very much and allows herself to part ways with them by concentrating on the belief that one day they’ll understand how much she genuinely wanted to go to work. And while it’s clear the movie’s goal is to humorously depict the lives of women who work and have families it shockingly shies away from ending the still-popular belief that women are best "pregnant barefoot and in the kitchen."
Within the first minute of the movie the fourth wall is broken -- and continues to break throughout the movie -- and several of Kate’s colleagues and friends verify that Kate is an outstanding mother and a supremely productive member of the work force (which was pretty unnecessary considering how we were just going to see all of Kate's talents anyway). Her friend Allison (played by Christina Hendricks) opens up a bit more than the others and unveils that even though Kate's totally great she really wasn't doing very well with her responsibilities last winter. Then we flash back three months and watch as Kate goes from being an unnoticed employee at her Boston firm to writing a proposal and catching the interest of Jack Abelhammer (Pierce Brosnan) at the branch’s New York office. Jack is enthusiastic about Kate’s ideas and decides he wants to take the proposal and present it to a major client which excites Kate because it would be great for her career. However the problem is the proposal needs a lot of work before it can be shown to anybody and Jack is careful to ask if Kate is comfortable traveling between Boston and New York and working day and night for two months until the whole thing is finished. In the back of her mind she knows she should be spending heaps more time with her family instead of agreeing to take on more responsibilities at work but she decides to do it anyway because as the saying goes “if it ain’t hard it ain’t worth it.”
So Kate and her assistant Momo (played by a finally enjoyable Olivia Munn) begin working overtime. She spends three days a week in New York and the other four days glued to her computer in Boston. When she does make plans with her kids to do something like build a snowman she ends up flaking out because something happens at the last minute regarding the proposal and she needs to drop everything to go work on it with Jack in New York. As angry as the kids are with their mom Kate’s husband Richard (Greg Kinnear) is even angrier because since his wife is away and working all the time he becomes the caregiver by default.
Now here’s where things get a little dicey: Richard is an unemployed architect and so I was surprised to watch him give his wife so much grief for working to keep their cute children fed. However the audience is supposed to understand where he’s coming from: we’re supposed to applaud Richard’s courage to make Kate feel guilty for being with Abelhammer instead of with her kids and we’re supposed to take his side as he repeatedly tries to convince her that she should be ashamed of putting her work ahead of her family. We're supposed to figure out that Richard feels bad for not working and understand that when he's screaming at Kate for having a job he's really just venting about how frustrated he is that he's unemployed. And here’s where the movie has the opportunity to open up and blossom and be symbolic of how a woman should never have to apologize for having a career. Exactly here is where the movie should have stretched out its wings and showed Kate yelling from the top of her lungs about how unfair it is that women are frowned upon for having a job and a family whereas it’s completely fine for men to have both. But instead of defending herself like that Kate responded to her husband’s grievances by bowing her head down and acknowledging that she’s wrong for working so hard for being away from her children for making bad choices and for making her husband’s life harder. But the thing is that she hasn’t made bad choices! She’s made all the right ones because her husband doesn’t work! The point is McGrath had the opportunity to really emphasize how men with families and women with families are treated differently in the workplace -- but he ended up depicting how dangerous it is to be a woman with a job because it means that one day her husband might resent her and make her apologize for it. And so instead of significantly expanding upon Pearson's efforts to level the ground for women with children in the workplace McGrath (rather confusingly) stopped just short of following her lead.