The first five minutes of The Change-Up—a horrifying look into the world of late-night baby care complete with one of the more grotesque poop-to-face shots ever captured on film—sums up the movie's bait-and-switch. In most comedies this scene would be the first step towards a descent into hell that only Paul Blart: Mall Cop and Adam Sandler are capable of realizing. In The Change-Up it's a sequence that sets the bar as low as artistically possible so stars Jason Bateman and Ryan Reynolds can obliterate expectations with equally raunchy shocking and hilarious comedic stylings. Simply put The Change-Up is the funniest movie of the year.
Bateman plays Dave Lockwood a run-of-the-mill lawyer who works too hard juggles his parenting duties and struggles to find time to tell his wife he loves her. Dave's best friend Mitch (Reynolds) couldn't be more of the opposite—sleeping all day and spending his conscious hours wooing sexual partners while stoned out of his mind. The two are polar opposites making them the perfect candidates for a little bit of switcheroo magic. One particularly devastating night of alcohol and lamenting life's woes ends with the duo taking a leak into a magical fountain (go with it). Fate of course intervenes and when Dave and Mitch wake up they find themselves trapped in the one another's bodies.
There's no denying The Change-Up follows the Freaky Friday formula—but that's not a fault. The logic is already established giving Bateman Reynolds and director David Dobkin (Wedding Crashers) freedom to jump right into the crass humor hook. Bateman who's becoming a go-to straight man in Hollywood finds a refreshing opportunity in inhabiting Reynold's Mitch. The character's lack of self-censorship opens the floodgates for Bateman to poetically surface some of the English language's more horrendous sentences. A slang dictionary may be required to understand what bizarre body part synonyms are being dropped at rapid pace in this movie. Whether you comprehended them or not when they come out of Bateman's mouth they're priceless.
Same goes for Reynolds who escapes the box of fast-talking womanizer to play the uncomfortable family man. Judging an actor's versatility on a scene in which he's unwillingly placed at the center of a "lorno" (read: low-budget soft core pornography) may seem twisted but Reynolds sells it and makes it perfectly agonizing. Even obvious scenarios like "uh oh Dave's going to have to cheat on his wife in Mitch's body!" are twisted once twice three times over to pull the rug from under you.
The biggest surprise of The Change-Up is the movie's heart. Pummeling an audience with jokes is one thing but to sell genuine relationships underneath it makes it satisfying. The wavering friendship between the two lead knuckleheads is tangible and keeps an impossible plot device grounded while Leslie Mann (Knocked Up Funny People) as Dave's wife Jamie has her fair share of tender moments (as well as devilish laughs—there's a reason her husband Judd Apatow keeps casting her). In a movie that's constructed by textbook rules to have an ending that resonates with any sort of emotion is as surprising as watching a grown man toss a baby down next to a set of steak knives. Which coincidentally also happens in the movie.
In today's world where anything goes it's hard to whip up slapstick and one-liners that feel edgy and that leave your jaw on the floor. That's how The Change-Up hits—and it hits hard.
Who knew that Will Smith could deliver the year’s most unexpected and profoundly moving love story? He plays Ben a man with a deep dark secret that leads him help seven complete strangers each with their own particular set of circumstances. Constructed like a jigsaw puzzle we slowly get clues to the traumatic events that cause Ben to contact these people and change their lives in ways they never could have anticipated. What he doesn’t expect is to fall in love with one of them -- Emily Posa (Rosario Dawson) a cardiac patient whose heart may be weak but is clearly strong enough to make a difference in the way Ben looks at things. It’s this relationship that becomes the center of Grant Nieporte’s compelling screenplay but as it continues it’s obvious there is more to what Ben is doing a mystery not revealed until the final moments and one you will not easily forget. Will Smith is at his best. He may be the world’s No. 1 movie star at the moment but he’s continually proving himself to be a brilliant actor as well. Reteaming with director Gabriele Muccino who led him to a Best Actor Oscar nomination in The Pursuit of Happyness Smith once again finds his dramatic mojo in the role of a man whose life has been shattered by something so profoundly affecting that he reaches out to strangers in an effort to redeem himself. You will be hard-pressed to find the loveable Will Smith persona anywhere within this character. Dawson also has a career best as the spunky and courageous Emily a role that could have been sloppily sentimentalized and maudlin. She’s a revelation delivering a flawless and luminous performance. And best among the various recipients of Ben’s kindness is Woody Harrelson as a blind man he encounters. Also quite good is Barry Pepper as Ben’s childhood friend who is the only other person “in” on Ben’s master plan helping him to achieve his goal. He rips your heart out when he gets the call from Ben who says “It’s time.” Gabriele Muccino puts it all out there. He is an unapologetically emotional director and some will probably find fault with his style but as the Italian filmmaker proved in Pursuit of Happyness he knows exactly what he’s doing and where he’s taking the story. He’s most successful here in building suspense and an air of mystery around Smith’s character and then bringing it all home in a whopper of a final act. Clearly story acting and gut-level feeling are the three things that drive Muccino and his distinctive stamp and European approach is evident throughout. Most of all he has given Smith and Dawson a real showcase finding the meat of a story that’s one from the heart and good for the soul.