The Five-Year Engagement is an ambitious film by Hollywood rom-com standards. The script by director Nicholas Stoller and lead actor Jason Segel aims for charm and pain and laughs and truth. The presentation is slick with the beauty of San Francisco and small town Michigan backdropping the comedy captured with above-average photography that screams "This isn't your run-of-the-mill Katherine Heigl flick!" Five-Year Engagement is a shotgun blast of grand ideas every element spread so thin it ends up being not that charming not that painful not that funny and not that truthful.
Tom (Segel) a professional cook and his girlfriend Violet (Emily Blunt) a hopeful psychology student have been dating for one year before the question is finally popped. They seem perfect for one another understanding the other's perspectives sharing sensibilities and helping each other loving life to the fullest. The couple's wedding planning process is slow and steady but when the date is finally in sight Violet finds herself with an offer to attend the University of Michigan. The wrench in the life plan sets the nuptials back much to the chagrin of Violet's mother (Oscar-nominee Jacki Weaver) who pushes her daughter to tie the knot before all the grandparents are dead. The potential move doesn't sit well with Tom either — leaving San Fran means quitting a high profile cook job and saying goodbye to his best bud Alex (Chris Pratt) and Violet's sister Suzie (Alison Brie). But the compromise is eventually made and Tom and Violet find themselves driving into the cold snowy unknown of Michigan.
Five-Year Engagement maximizes Segel's and Blunt's inherent charisma (and really they're two of the gosh darn nicest on-screen people in recent years) by making them kind loving and flawless. To give the movie a reason to exist problems for their relationship are then randomly conjured up. Slowly but surely their relationship suffers strain from all the bending over backwards. The archaic conceit of why these two actually need to get married to profess their love isn't really addressed — they just have to and life is standing in their way. Tom can't find a cooking job; Violet's professor plays devil on her shoulder about marriage; Tom hates Michigan but turns out to be too nice to say anything; Violet sees shades of her psychological experiments ripping apart Tom's exterior. After meeting them in the beginning the hurdles the central couple faces throughout their five year engagement are nonsensical. They're perfect for each other they're just written to have rom-com problems.
The movie earns a few chuckles. Pratt and Brie steal the show as the friend and sister who quickly fall in love tie the knot have kids and foil Segel and Blunt's relationship. The two leads are comedically proficient too — a conversation between Blunt and Brie performed with Cookie Monster/Elmo voices is pure genius. But it's a movie of moments diluted by a non-action arc that's simply a bore. Halfway through the movie Segel's Tom goes full-on cartoon character embracing a mountain man persona who's obsessed with venison and brewing his own honey mead. The jokes could work in another movie but not in Five-Year Engagement which strives for something more.
Time is essential to Five-Year Engagement but it's unclear how many months have passed between the movie's scatterbrained scenes. Alex and Suzie visit Tom and Violet with kids then magically they're all grown up when a year (maybe) has passed. And when did Tom go crazy? How quickly did they put their third marriage attempt together? The film's timeline is key but never feels established — even with a run-time of over two hours. Much like Tom and Violet the audience waits and waits and waits and waits for the couple to finally tie the knot in Five-Year Engagement. Tom Petty was right: the waiting is the hardest part.
2009’s Sherlock Holmes found unexpected synergy in the pairing of Robert Downey Jr.’s impish charm and Guy Ritchie’s macho kinetic visual style reinventing Sir Arthur Conan Doyle’s master detective for a modern blockbuster audience. The follow-up Sherlock Holmes: A Game of Shadows employs the same winning formula while adhering judiciously to the Law of Sequels and its more-more-more dictates: more action bigger set pieces higher stakes and a darker more convoluted plot. But more as so many past sequels have taught us is rarely better.
Game of Shadows marks the emergence of Doyle’s most famous villain James Moriarty (Jared Harris). Glimpsed only in darkness in the first film Moriarty takes center stage in the sequel as Holmes’s foremost criminal foil a genius-level university professor whose extracurricular interests range from horticulture to homicide. Holmes has deduced him to be at the center of a wave of terrorist bombings as well as the seemingly unrelated deaths of various titans of industry but can’t quite discern just what the professor’s endgame might be. Composed and calculating to a menacing degree Harris makes for a promising counterweight to Downey’s manic verbosity. But as in the first film Game of Shadows’ best moments are found in the comic interplay between Holmes and his reluctant sidekick Dr. Watson (Jude Law) who is plucked from his honeymoon to accompany the detective on a trans-continental trip in search of clues to Moriarty’s machinations.
And it’s very much a boys-only trip. The female leads from the first film Rachel McAdams and Kelly Reilly are tossed aside – literally in the case of the latter – in Game of Shadows while the cast’s highest-profile new addition Swedish star Noomi Rapace (best known as the original non-emaciated Lisbeth Salander) is a curious non-factor in the role of a Gypsy (or Roma if you prefer) fortune-teller. The film maintains only the slimmest pretense of a romantic subplot between her and Downey. Rapace looking perhaps a bit lost in her first English-speaking role can’t hope to eclipse the Holmes-Watson traveling road show.
Ritchie’s technique with its signature blend of rapid cutting and slow-mo and super-high frame-rates – perfect for admiring the odd apple tossed in the air or a piece of bark shot off a tree – is once again evident in the film’s awe-inspiring (and occasionally coherence-defying) set pieces the most memorable of which is set in a munitions factory with Watson wielding a gatling gun like an early T-600 prototype. But some of the novelty of the stylistic juxtaposition has faded since the first film. Ritchie tries to compensate by ramping up the firepower to limited effect. Absent amid the hail of mortar blasts and automatic weapons fire is any real sense of intrigue or suspense which proves to be Game of Shadows’ most vexing mystery.
Kids' movies may be the most difficult cinematic mountains to climb. The filmmakers must cater to two perspectives at constant odds with one another: young ones who find amusement in simplistic stories and broadly painted humor and their parents who need enough of a grounded hook emotional core and clever jokes to keep them from nodding off. Not an easy task.
To see this winning combination pulled off by a 3-D animation/live-action hybrid adaptation of a rather irritatingly sweet cartoon from the '80s…well it's both a shocking and welcome surprise. The Smurfs transcends recent property-grabs like Garfield Alvin and the Chipmunks and Marmaduke by embracing the cartooniness relishing in the fact that it can get away with anything with the help of adorable little blue people.
Smurfs takes the model employed by 2007's Enchanted kicking things off in the colorful fantasy world of Smurf Village and quickly bringing its cheery clueless characters to the terrifying metropolis of New York. After Clumsy Smurf accidentally leads the Smurf-obsessive Gargamel (Hank Azaria) to the hidden mushroom haven of his brethren the bumbling black sheep of the Smurf family finds himself and a few clan members Papa Brainy Grumpy Gutsy Smurfette at the wrong end of a Blue Moon-induced worm hole. The group (along with Gargamel and his cat) find themselves face-planted in NYC's Central Park where they meet Patrick Winslow (Neil Patrick Harris) yes man to the cosmetic titan Odile. This sets the race in motion—the Smurfs enlisting the help of Patrick to find a way back home Patrick seeking the perfect ad campaign for Odile's new make-up line and Gargamel questing hungrily for a few drops of Smurf essence.
If Smurfs was simply a barrage of fart jokes and pop culture references the movie wouldn't click but by giving each of his characters something to do (seems obvious no?) director Raja Gosnell injects the film with a helpful dose of heart. Along with Clumsy's quest to be more than his name insists Harris' Patrick also has his own problems to overcome. Namely preparing to be a Papa Smurf to the kid he's about to have with his wife Grace (Glee's Jayma Mays). Harris and Mays take their roles here seriously going all out when they need to chase the adventurous Smurfs around town in one slapsticky sequence after another but they put just as much into their smaller scenes. One moment where Papa Smurf sits Patrick down for a "Dad talk" even has weight—a near impossible task for a "kids" movie.
But let's not get too sappy: the movie is funny plain and simple. Azaria makes a living bringing cartoon characters to life—he's a reason why The Simpsons has been on for more than 20 years—and his goofy Gargamel antics are inspired. A recurring gag where the evil wizard continually steps through ventilation steam grates probably read fine on paper but Azaria knows how to play big and doesn't allow any moment of physical comedy to lazily fall through the cracks. On the flip side Harris nails the straight man role and acknowledges that hanging out with Smurfs is just as bizarre as you'd imagine. Think The Brady Bunch Movie for the world of animation.
With solid kids' flicks becoming a rare occurrence Smurfs is a breath of fresh air a film that believes in its own simple message while simultaneously being self-aware of its cartoonish heritage. The movie's a smurfy good time but it takes a particularly smurfy Smurf to let go of cynical baggage and smurf it.
Former cellmates Michael (Russell) and Murphy (Costner) are leaders of a posse that plans to pull off the heist of a lifetime: robbing the Riviera Hotel and Casino in Las Vegas during International Elvis Week. This means of course adopting full-on spangled jumpsuits sunglasses and "thank yuh thank yuh vurry much"-es. But when Murphy turns against the crew to keep all the loot for himself Michael escapes with it instead and heads for the border to launder it. He's sidelined along the way by a dalliance with a grifter (Courteney Cox) and her young son. Meanwhile Murphy's hot on his trail.
Costner turned down the chance to play Russell's part to take on the villain instead - and he looks like he's having the time of his life. Less filled out but more amoral than his baddie in the underrated "A Perfect World " Costner bats well as a foil to Russell who shows a barely visible vulnerability under the necessary roughness. Cox to her credit does a complete 180 from her uptight role on "Friends" as the sexually aggressive con-chick Cybil. Christian Slater David Arquette and Bokeem Woodbine make small appearances as part of the Elvis crew Howie Long and Ice-T kick some tail and Kevin Pollak and the long-absent Thomas Haden Church ("Wings") provide comic relief as bumbling lawmen.
"3000 Miles to Graceland" may seem like a caper reminiscent of last month's "Snatch " except there's a lot of bloodshed particularly during the casino robbery where machine gun blasts fling people across the room to land on cha-ching!-ing slot machines. Novice director Demian Lichtenstein's music video background is evident in his Guy Ritchie-esque cuts zooms and a way-bizarre computerized scorpion fight that kicks off the movie (what was that about?). His style and the Vegas ambience give the film a kitschy edge that disappears once the guys shed their Elvis garb. Stay for the credits - you'll see a costumed Russell lip-synching in his own music video as Costner Cox and crew dance about.