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.
What to Expect When You're Expecting, adapted from Heidi Murkoff's best-selling self-help book, isn't what one would expect. Looking at the trailer for the star-studded project, it's easy to assume the film is yet another A-list ensemble comedy, a style that's evolved into a maligned genre all its own. But moviegoers shouldn't necessarily associate What to Expect with films like He's Just Not That Into You, Valentine's Day, and New Year's Eve, all poorly reviewed projects that felt like money-making vehicles for boatloads of familiar faces. Instead, What to Expect separates itself from the lazy A-list genre movie, thanks to a sharp, relatable screenplay penned by Heather Hach (Freaky Friday) and Shauna Cross (Whip It), who aimed for a difficult balance of comedy and drama. Turns out, you can hit the bullseye just by telling the simple truth.
Hach admits that Hollywood comedies rarely achieve honesty — a fact that compelled her to dig deep while writing What to Expect. "That's why I think movies don't work. They don't resonate," Hach tells Hollywood.com. Although the romance-driven plots of similarly designed movies took place in the real world, they bordered on fantasy. What to Expect deals with the real, and required a different approach. "We knew the challenge here was making really relatable characters that felt grounded. And I think we succeeded."
The screenwriter certainly had source material. Hach initially pitched the book in the seventh month of her actual pregnancy and thought the idea of adapting the non-fiction classic was "genius." Hach says, "There's really no more human story that's filled with drama and comedy than having a baby."
Despite the success of self-help adaptation He's Just Not That Into You, Hach says there was never a push for her to emulate the style of the 2009 film and its many successors. "We all decided, the producers and Heidi Murkoff, the author … we wanted a Love Actually feeling with a lot of different characters." Hach says. "I think not having too many characters, five couples, you have time to feel the connection. Love Actually has a lot of truth in it. [Director] Richard Curtis is so good at that." The streamlining helps — instead of feeling like a cameo-filled romp, What to Expect has a honed-in focus that helps the film's flow.
During the screenwriting process, What to Expect was eventually handed off to Cross ("like a baton in a relay") who brought her own experiences to the table. "When I was pregnant I was looking at any movie with a subplot about pregnancy because I wanted something to relate to," Cross says. "Once I started working on [the movie], I was excited because there are so many people who have kids right now. It's nice to have, every 10 or 15 years or so, something related to pregnancy."
Cross admits that the world she was entering with What to Expect was dangerous territory with its own set of handicaps, citing the negative critical reaction to movies cast in similar a vein. But the style made sense to her: "You're aware of an audience when writing this movie," she says. "I like a good milestone movie that sums up an experience we're all going to go through. And the reason I like doing the ensemble thing is because the minute you have a kid, the minute you talk to friends, you realize everyone's experience is different. It's a universal thing of becoming a parent, but everyone's experience is different."
Both writers knew that for What to Expect to work as an honest movie that appealed to broad audiences, it couldn't simply be targeted at women. "When you're pregnant or when your partner's pregnant, you're both in it together," Hach says. "We knew we didn't want a chick flick that guys would roll their eyes at. We wanted to include that vantage point." Cross echoes the sentiment: "There was sort of a group of mahjong-playing grandmothers that were commenting on the film. And I was like, 'Can we have some dudes in the movie? Because men help create the babies and they're pretty involved.' So that was super fun for me. It was a big project for me, getting the guys in there. You can't make a baby without a guy."
Amazingly, the movie does succeed in mining universal (and hysterical) comedy from a subject matter that, on the surface, may appeal strictly to women. That's thanks to the connection between the written material and the solid cast — an ensemble Cross reveals wasn't necessarily the desirable one for some. "[Producer] David [Thwaites], [Director] Kirk [Jones] and everyone involved fought really really hard for the right people in the right parts," she says. "There was an easy version that could have happened, but it was definitely fought against." Mostly so the screenwriters could trade in star-driven stunt casting for lesser-known but beloved comedians like Thomas Lennon and Rebel Wilson (Bridesmaids), actors who are known to help make films actually, you know, funny.
Cross continued to work closely with the script once the cast came on board, swapping pregnancy stories with the actors and tailoring the screenplay for each individual — not a common practice on most ensemble comedies. "Chris Rock is definitely a dad," Cross says. "He feels pretty strong about being a dad. He was almost an embarrassment of riches in how much he knew. Chris brings a lot of his own point of view. He and I both agreed that it was important that it wasn't like, 'This is horrible… ' It had to be how real parents talk. 'Today f**king sucks, but overall being a parent is kind of great.'" The screenwriter was also able to tweak Jennifer Lopez's role once she came on board. "There's something inherently relatable about her, how she can come across as a bit of an underdog. I like the irony that she's so beautiful — she's not someone you'd look at and think, 'This woman has a hard time making a kid.' So it's writing more to that." When it came to Elizabeth Banks and Wilson, Cross couldn't pen enough dialogue. "There's a great straight man thing that Rebel bounces off of Elizabeth and you keep feeding that machine."
Of course, there were interesting pregnancy stories Hach and Cross weren't able to squeeze into the movie. Hach's first draft of the screenplay included a homosexual couple looking to adopt that was later dropped in subsequent versions. When it was put in Cross' hands, the idea came back up, but was shuffled out for creative reasons: "By the time it got to me, it was the moment Modern Family was getting so huge and it felt like we were going to copy … like don't do what they're doing so well. They are so nailing it, let's not copycat it." Cross mentions there have already been talks of sequel ideas and that "[they] would definitely bring in a gay couple."
The hot-button issue of young pregnancy also surfaces in What to Expect, after Anna Kendrick's character Rosie finds herself impregnated after a casual encounter. The storyline takes its own turn for the dramatic (we won't spoil anything for you here), but don't expect What to Expect to tackle abortion — even though the screenwriters have a commitment to truth. "You kind of know who your audience is," Cross says. "Does an audience who's in the middle of experiencing pregnancy want to see a movie with abortion in it? It's tricky."
So tricky that audiences rarely see abortion on screens big or small, despite the fact that many — 22 percent of women who get pregnant, in fact — would relate. (Cross does see a recent episode of Girls as a missed opportunity: "They are on HBO, they'd have the support."). Cross also doesn't want to downplay the situation either: "As someone who has been accidentally pregnant, who didn't really plan on my pregnancy, I think there's a physical, biological thing that takes over, too," Cross says. "Kinda, 'Can I do this? Should I do this?' ... People definitely have abortions, but I don't know if this is the abortion movie. I'm so not judgmental and so pro-women getting to plan their families however they want and I'm offended by weird laws. I don't want to come across as blase seeming like every family should have a baby. It's almost like some people think that anyone who feels positive about having a kid is like some giant propaganda telling the world to have a baby. I don't feel like everyone should breed, but I do think this movie is about an experience 90 percent of those people will go through at some point."
It's these considerations and commitment to reality that make What to Expect a standout. The movie pulls back the curtain on a momentous occasion by revealing all the crazed, disturbing, wonderful events that are in store for those who find themselves prepping for a new baby. Those looking for a big genre twist may be jaded before they even get to the theater. "For some people it might be awful and cliched that they get babies at the end and the babies don't kill the parents because that would be a surprise ending," Cross jokes. "But I don't know if that's the movie I want to see when I'm pregnant. Zombie babies… different movie."
Cross may enter that territory with her next project, an adaptation of the black comedy parenting book Go the F**k to Sleep, but Hach sums up the intentions and revelations of What to Expect perfectly: "There are a lot of expectations that people have about [pregnancy]. 'Isn't it so wonderful, isn't it so glorious.' You don't know what to expect."
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Anna Kendrick on 'What to Expect,' the On-Set Midwife, and Breast Tenderness — EXCLUSIVE
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Drew Barrymore is set to enter Twilight territory. Which doesn't mean she's starring in an angsty vampire movie but rather that she'll be directing and producing the big-screen adaptation of a young-adult novel: Heist Society.
The novel, by Ally Carter, tells the story of young woman who returns to a life of crime (i.e., thievery) in order to help bail her father out of an art-heist jam.
Barrymore will reportedly direct Heist Society -- which will reunite her with Whip It (her last directorial outing) screenwriter Shauna Cross -- after fulfilling her obligation to helm How to Be Single.
Source: The Hollywood Reporter
Vantage Point gives us just that--a birds-eyed view of an assassination/terrorist attack on the U.S. president. In Spain at a landmark outdoor summit on the global war on terror President Ashton (William Hurt) is shot and a bomb explodes killing hundreds of people. For the rest of the film we see the same 15 minutes over and over but from different points of view: There’s a CNN-like news producer (Sigourney Weaver) who is the first to witness the events; the Secret Service agents (Dennis Quaid and Matthew Fox) assigned to protect the president; an American tourist (Forest Whitaker) videotaping the historic event; a Spanish cop (Eduardo Noriega) who suspects what’s going down by the surreptitious actions of his girlfriend (Ayelet Zurer) at the rally; and most importantly the head terrorist (Said Taghmaoui) who orchestrates it all. Through each of these individual perspectives we learn the truth behind the assassination attempt--and as far-fetched as it is it still isn’t pretty. This is an all-out action thriller folks--quiet subtle performances are not required. Quaid goes full blast as the veteran Secret Service agent who has already taken a bullet for the president once before and is still a bit skittish about it. But his loyalty to the president never wavers and it’s through his determination to find out what happened that propels the story forward. Fox also plays it to the hilt much like he does as Jack on TV’s Lost but the actor has a certain movie-star quality to him; he could easily transition from TV to film. Whitaker unfortunately has to play the big schlub with a heart--which at this point seems a tad beneath the Oscar-winner--but he still gives it his all. Hurt’s Head of State is another one of those dream presidents we wish we had. Taghmaoui (The Kite Runner) and Zurer (28 Weeks Later) are adequately cold-hearted as the terrorists while Edgar Ramirez (Domino) effectively emotes as a reluctant member of the terrorist cell forced to do their bidding while his brother is being held captive. Did we mention that the terrorists were cold-hearted? Right. Vantage Point’s trio of film editors (Stuart Baird Sigvaldi J. Karason Valdis Oskarsdottir) must have either thought they’d died and gone to heaven or hell depending on how much of a pain it was to cut the film. Whatever the scenario together with newbie director Peter Travis they keep the action taut and suspenseful. Each character’s POV lends itself to more information as the plot unfolds piece by piece culminating with a whopper of a car-chase scene that should leave you clenching your teeth. The use of electronic devices in the attack is also noteworthy as the main terrorist basically accesses his PDA to 1) shoot the president 2) explode bombs and 3) send the pictures of the destruction to all his friends. OK he actually doesn’t do that last part but he certainly could with that handy device of his. The only drawback to the whole scenario is the implausibility of it all--and the lack of back story. Suspending disbelief we can do but in Vantage Point’s case a little explaining would have helped.