The man-child: a staple character for modern comedy and notoriously known for being played one-note. They get the laugh they get out.
But turning the lovable goofball or zoned-out knucklehead into something more is no easy task—which makes Paul Rudd's work in Our Idiot Brother that much more impressive. Rudd's Earth-friendly farmer Ned (the closest thing to a new Lebowski we've seen since the original) finds himself down on his luck after being entrapped by a police officer looking for pot. After a stint in jail he abandons his rural hippie commune for the big city to take shelter with his three sisters. Unfortunately for Ned his three siblings Liz (Emily Mortimer) Miranda (Elizabeth Banks) and Natalie (Zooey Deschanel) are as equally displaced and confused from the ebb and flow of life—albeit with severely different perspectives of the world.
Liz struggles to put her kid in private school and keep her marriage to documentary filmmaker/scumbag Dylan (Steve Coogan) intact. Miranda claws her way to the top of Vanity Fair's editorial staff and shuns her flirtatious neighbor (Adam Scott). Natalie stresses over her commitment issues with girlfriend Cindy (Rashida Jones) leaving little time or patience for Ned's bumbling antics. Sound like a lot of plot? While the manic lives of Ned's sisters click symbolically with his journey to get back on his feet it makes for one sporadic narrative.
Like a series of vignettes Our Idiot Brother never gels but when director Jesse Peretz finds a moment of unadulterated Nedisms to throw up on screen the movie hits big. Whether it's Ned teaching his nephew how to fight accidentally romancing his sister's interview subject or infiltrating his ex-girlfriend's house to steal his dog Willie Nelson the movie relies heavily on Ned's antics and its smart to do so. But thin throughlines for its supporting don't hold a candle to Rudd doing his thing.
And its a testament to Rudd's versatility—the man has done everything from Shakespeare and raunchy Judd Apatow comedies after all—that makes the movie watchable. Rudd gives dimensionality to his nincompoop character allowing darker emotions to creep in when necessary. There's a point in the film when Ned gives up fighting for his type-A sisters' affection and it's some of the best material Rudd's ever delivered. But like one of Ned's lit joints Our Idiot Brother can quickly fizzle out leading to plodding plot twists and sentimental conclusions. Mortimer Banks and Deschanel are great actresses—here they drift through their scenes and come out in the end changed. Because they have to.
Our Idiot Brother tries to take the Apatow model to the indie scene and comes through with so-so results. Only Rudd's able to find something to latch on to to build upon to warm up to. In an unexpected twist it's the man-child who seems the most grown up.
The Wackness winner of Sundance Film Festival's Audience Award compares favorably with some of the best teen angst movies of the past. It could have been just another stoner slack-fest but instead finds much to say and should resonate with not only those who also came of age in the ‘90s but anyone who ever crossed that frightening threshold. Set in the summer of 1994 when N.A.S Notorious B.I.G. and Outkast ruled the airwaves Luke Shapiro (Josh Peck) is spending his last summer peddling marijuana out of an ice cart and trading it for free therapy sessions with his aging pot-smoking psychiatrist Dr. Squires (Ben Kingsley) who seems to be trying desperately to hang onto his own youth. Although the advice (“you need to get laid”) he hands out probably wouldn’t pass muster in most medical circles the two strike up an unusual relationship. Luke takes his first tentative steps into manhood courtesy of his shrink’s stepdaughter Stephanie (Olivia Thirlby) while Squires must deal with a fading marriage to his much-younger wife (Famke Janssen). Peck--best known for Nickelodeon’s bubblegum sitcom Drake and Josh--exhibits great promise with his low-key simple performance as a messed-up pot-dealing teenager on the verge of adulthood. He could have played this as a straight stoner but instead is remarkably three dimensional offering a portrait of a young man in transition. He’s a guy whose problems with his parents friends and girls are just the tip of the iceberg in his own coming-of-age drama. As the other half of this very odd couple Kingsley seems to be relishing his role as an aging hippie therapist whose lifelong obsession with pot has clearly rattled his brain. Squires own confusion leads him to a hilarious “romantic” encounter with a dreadlocked little tramp played amusingly by Mary-Kate Olsen who is probably STILL talking about her make-out scene with the Oscar-winning actor. Also along for Luke’s quirky ride into manhood is Thirlby who showed great promise in Juno and confirms it here as a very confident young woman who deflowers the awkward Luke in a wonderfully understated bedroom scene. Janssen has little to do but look lovely while Talia Balsam and David Wohl are in for some brief moments as Luke’s difficult parents. And look for nice bits from Jane Adams as a new wave keyboard player Disturbia’s Aaron Yoo and Method Man as Luke’s supplier. It’s probably no coincidence young writer/director Jonathan Levine graduated from high school in 1994--the same year he has set for The Wackness. Clearly he knows the era and particularly the music which plays such a key role in setting the mood of this picture. Levine has passion for the hip hop sounds of the era and has effortlessly incorporated them directly into his storyline. Where The Wackness really departs from your average slacker epic however is in its seriousness of tone. At its core the film is not unlike classic teen movies such as Risky Business and Fast Times at Ridgemont High. Levine creates flawed almost tragic figures we can identify with in one way or another. That’s what holds this somewhat meandering tale together so well. We come to like these characters and wish them well as their lives are hovering at a crossroads. Levine’s filmmaking style is slightly awkward and the movie is unattractively lit but with The Wackness Levine captures a moment in time with great skill and heart.
Looney Tunes: Back in Action revisits an age-old Tunes question: Why does the affable Bugs reap all the fame and glory while the egocentric Daffy gets shafted again and again? Our duck friend quite frankly has had it up to his skinny neck playing second fiddle to the carrot muncher. All Daffy wants is a little recognition from the studio but the brothers Warner (actual twin brothers as we come to find out) decide instead to let Daffy out of his contract on the advice of their no-nonsense VP of comedy Kate Houghton (Jenna Elfman). Bugs however knows they're making a mistake. Even though Daff bears the brunt of the abuse Looney Tunes would fail without him and Bugs convinces the powers that be they need the nutty mallard. If the plot had only followed this thread--perhaps showing Daffy on the skids--then maybe the film wouldn't have spiraled into Looneyville. Unfortunately Daffy ends up hooking up with the hunky D.J. Drake (Brendan Fraser) a studio security guard who finds out that his famous movie star father Damian Drake (Timothy Dalton) is really a secret agent hunting for a mysterious diamond known as the Blue Monkey a supernatural gem that can turn the planet's population into monkeys. The evil head of the Acme Corporation Mr. Chairman (Steve Martin) wants the diamond for his own diabolical plans and he's kidnapped D.J.'s dad in an effort to get it. Now the gang has to get the diamond save D.J.'s dad and of course save the world.
It might be a little hard to act subtly around cartoon characters but these aren't your ordinary cutesy Mickey Mouse types. Bugs Daffy Porky Yosemite Sam and Foghorn Leghorn are pros at comic timing able to spar with the best of them throw out zingers without a second thought and slay you with a droll glance at the camera. It isn't really necessary for the human actors to match their madcap-ness; just reacting would have sufficed. Fraser comes off the best of the human bunch; since he's had practice (Monkeybone) he easily interacts with his animated co-stars and deftly handles the doubletakes and jabs at pop culture. Elfman on the other hand sputters and goes bug-eyed every time she encounters silliness. She looks uncomfortable doing the green screen thing especially when she's trying to look natural when peeling a distraught duck from around her waist. Martin's highly anticipated turn as Mr. Chairman turns out to be the biggest disappointment. The over-the-top character is reminiscent of Martin's hysterically funny Rupert the Monkeyboy in 1988's Dirty Rotten Scoundrels but Martin turns Mr. Chairman--an angry schoolboy with knee socks and matted-down hair who never grew up--into a caricature of ridiculous proportions and unlike Rupert who came in small hilarious doses Mr. Chairman gets very tiresome very quickly.
Back in Action's animation is well done more engaging and ambitious than its 1996 predecessor Space Jam in which the action mostly took place in Looney Tunes land; here animated characters go the Who Framed Roger Rabbit? route and Bugs Daffy and the rest coexist harmoniously with humans in the real world. But despite its aspirations Back in Action leaves out vital elements that made Space Jam appealing. While the earlier film stuck to a simple plot Back in Action guided by director Joe Dante (Small Soldiers The 'Burbs) tries too hard to keep things wild and wacky while incorporating elements of '60s heist pics and action-adventure scenes and in the process loses sight of the most important ingredient in any kids movie: the story. Tykes may have limited attention spans but if the story's good they will watch. Granted some individual bits are laugh-out-loud funny particularly the scene in the Warner Bros. commissary where a stuttering Porky Pig complains about being politically incorrect with Speedy Gonzales while an animated Shaggy and Scooby-Doo berate actor Matthew Lillard for playing Shaggy as such a bonehead in the live-action Scooby-Doo. These scenes prove that if any cartoon characters could pass themselves off as real celebrities in the entertainment industry the gang from Looney Tunes could but moments like these simply can't overcome a contrived plot and juvenile antics.