Take Me Home Tonight directed by Michael Dowse is a comedy about the ‘80s but its futility is timeless: In just about any decade it would be considered generic and unfunny. Set in 1988 it stars the likable and witty Topher Grace as Matt a recent MIT grad with a crippling case of post-college career-indecision. Working as a lowly clerk at a video store he has a chance encounter with his high-school crush Tori (Teresa Palmer) who to his (and our) surprise actually displays faint interest in him. But Matt fails to pull the trigger and so he resolves to make up for his lack of cojones when he sees her later that evening at a party hosted by the preppy douchebag boyfriend (Chris Pratt) of his twin sister Wendy (Anna Faris).
This sets the stage for an eventual romantic union between Matt and Tori; until then there is insecurity to overcome and wacky adventures to be had. Many of the latter stem from the increasingly unhinged behavior of Matt’s best friend Barry (Dan Fogler). The film turns on a bag of cocaine Barry finds in the glove compartment of a Mercedes stolen from the dealership that fired him earlier in the day. Cocaine is renowned for its ability to induce euphoria in even the most mundane of settings but it has arguably the opposite effect on Take Me Home Tonight. I consider Fogler to be a legitimately funny guy but he has the irritating tendency to compensate for underwritten material by wildly overacting. Throw in a bag of blow and that tendency is amplified ten-fold.
A happy standout in the film is Palmer who brings a liveliness and dignity to the stereotypical rom-com role of the Otherworldly Hottie Who Inexplicably Falls for the Stammering Schlub. (It also helps that she's the only member of the main cast who is young enough to realistically portray a recent college graduate.) She is one of the more talented young Australian exports to arrive on our shores in quite some time and has the potential to become a saucier version of fellow Aussie Nicole Kidman. That is if she finds material better than Take Me Home Tonight.
WHAT IT’S ABOUT?
Christine has a doting boyfriend a good job and much promise until she refuses to extend the overdue home loan of Mrs. Ganush a strange one-eyed Gypsy woman who literally begs to keep her residence of 30 years. The ambitious Christine doesn’t budge and the woman unleashes the horrendous curse of the Lamia on the unsuspecting banker turning her life into hell on Earth. When she goes to a psychic to reverse the curse her entire existence is turned upside down becoming a living nightmare with no light at the end of a very dark tunnel.
WHO’S IN IT?
As Christine Alison Lohman gets to chew the scenery like there’s no tomorrow. Living an actor’s dream Lohman gets under the skin of this wickedly cursed girl and gives it her all in one harrowing sequence after another. Justin Long has the standard thankless role of her understanding but perplexed and confused boyfriend. Playing it straight he basically stands on the sidelines watching his girlfriend go slowly mad. As Christine’s boss David Paymer is all business while Dileep Rao as the all-knowing seer Christine turns to in her most dire time of need is quite effective in a handful of scenes. Stealing the show lock stock and barrel though is unquestionably the veteran TV character actress Lorna Raver who is aptly named Mrs. Ganush she is stark-raving mad. The character is blissfully over-the-top (and then some) and Raver under mounds of scary-as-hell makeup hits it out of the park.
Returning to his celebrated roots in horror Spider-Man director Sam Raimi (The Evil Dead) is clearly in his comfort zone as he delivers one of the best examples of the genre seen in many years. Although some CGI trickery and puppetry is employed to full effect Raimi manages to get his best jolts with expert use of camera angles creeping shadows blowing wind strong visual flourishes amped up sound effects and a brilliantly vivid musical score from Christopher Young. Raimi shows today’s purveyors of “torture porn” you don’t need graphic violence to scare the crap out of an audience — just talent. Hitchcock would have approved.
The PG-13 rating probably forced Raimi’s hand in turning on the juice and REALLY dragging us through hell in a couple of scenes so we’re hoping there’s an uncut DVD special edition coming along eventually.
There are many to choose from including a classic dinner scene with the boyfriend’s parents but for pure intensity the initial bank and parking garage encounter between Lohman and Raver has lots of teeth (so to speak) and is still sending chills down our spine. Also the creepy use of a "nosey" fly pays dividends through the entire film for the ultimate audience freakout.
NETFLIX OR MULTIPLEX?
Drag yourself to a multiplex. A fright flick that is this much fun deserves to be seen in a packed theater.
Luke (Steven Strait) and Brier (Pell James) first cross paths on a New York City subway before the doors shut on their instant attraction to one another. Of course it is immediately and abundantly clear that they will naturally meet up again before long but where and how? The answers: L.A. and well it's complicated. Each having forgotten about the other Brier a top model in NYC decides she needs a change of scenery and tells her agent (Carrie Fisher clearly in it for the paycheck) she's heading out to L.A. to pursue acting while Luke and his brother Euan (Kip Pardue) decide to move to the West Coast as well. Once there Brier befriends Clea (Ashlee Simpson) and on her first night in town takes Brier to a local dive bar where Luke works as a struggling "musician." Wow that's some coincidence. There is an instant re-connection between Luke and Brier but she refuses to get involved with musicians since her rock-star ex mistreated her. Instead she shifts her focus on generating buzz for Luke. Eventually Luke gets the big recording contract becomes the rock-star jerk he'd swore he'd never become and loses it all. But all is well when Brier decides she can no longer resist Luke's ballads and Metallica-guitarist-circa-'85 hair.
The theme of Undiscovered could apply to its cast. Each of the four leads are on the cusp of being on the cusp and certainly they hope this movie will take them one step closer. For James that might happen. She is a natural on screen and gives a breakthrough performance as the comely Brier. Strait is also a relative newcomer. After turning his debut performance in this summer's Sky High he holds his own in Undiscovered but seems to be relegated to taking his shirt off to make the teenyboppers swoon. Finally there's Simpson who is also making her major-role debut. It's awkward to see her on-screen and yes subconsciously you wait for her to make a noticeable mistake (or butcher a voice-over due to acid reflux). Of course it doesn't happen; she moves along pretty smoothly but is at times subjected to dialogue that seems beyond her especially when she has to words big words such as "banter." And certainly it's not her fault when she describes Luke--a musician best left struggling--as "a cross between Jeff Buckley and Elvis Costello." That's just someone else's words she reciting.
Prolific music-video director Meiert Avis is making his feature film directorial debut with Undiscovered--and his obvious greenness shows. At times the film is more like a music video surrounded by a weak storyline than a cohesive film. His expertise in the rather linear realm of music videos doesn't exactly qualify him for the complexities of a 90-minute film contrived and straightforward as his debut may be. Avis tries to employ every possible clichéd obstacle for the characters to overcome--which reeks of inexperience but could also be the screenwriter's fault. No doubt Avis feels at home with newcomers such as Strait and Simpson who--for all intents and purposes--sing and act but the plethora of singing scenes feel forced. That is forced into the script to showcase the soundtrack when the movie goes undiscovered at the box office.