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.
In true straightforward comic-book style TMNT starts with a brief backstory (without the laborious explanation on why four turtles and a rat become human-like in the first place) and then launches into the heart of the movie. After the defeat of their old arch nemesis The Shredder the Turtles—fun-lovin’ Michelangelo (Mikey Kelly) tech guru Donatello (Mitchell Whitfield) hotheaded Raphael (Nolan North) and pragmatic leader Leonardo (James Arnold Taylor)--have grown apart as a family. While Leo is off honing his craft the turtles no longer fight crime--except Raphael who still fights crime under the pseudonym Nightwatcher. Struggling to keep them together is their rat sensei Master Splinter (the late Mako). But strange things are brewing. Tech-industrialist Max Winters (Patrick Stewart) is amassing an army of ancient monsters to apparently take over the world. With the help of old allies April O'Neil (Sarah Michelle Gellar) and Casey Jones (Chris Evans) the Turtles finally come together as brothers to fight the good fight and once again face the mysterious Foot Clan who have put their own ninja skills behind Winters' endeavors. As opposed to hiring just A-list actors TMNT is a nice eclectic mix of veteran voice-over artists who give the Turtles their voices and regular actors such as Gellar Stewart and Evans. Crouching Tiger Hidden Dragon’s Ziyi Zhang also gets in on the action providing the voice of the Foot Clan leader Karai who was once an enemy of the Turtles but now sees the value in what they do. Of course there isn’t a Robin Williams or Ben Stiller to laugh with but Kelly is pretty funny as Michelangelo who has had to resort to entertaining kids at birthday parties as “Cowabunga Carl ” a clown-for-hire in a “fake” turtle suit. It will all depend on whether those ninja-fightin’ pizza-eatin’ giant turtles still have a monetary appeal but methinks a new TMNT movie franchise has been born. The comic book was created in 1984 by Peter Laird and Kevin Eastman as a spoof to the superhero stories and quickly took off into merchandising heaven with a toy license and then a television series. The original 1990 live-action movie used state-of-the-art animatronics but somehow felt static and fake. Since the last TMNT movie in 1993 the whole Turtle phenomenon has sort of fallen off the radar at least in the U.S. so the time was ripe for a renovation. Using the innovative CGI we know and love this new TMNT--created by a team of animators from California and Hong Kong under the watchful direction of Kevin Munroe--gives the Turtles not to mention all the otherworldly monsters they have to fight a realistic look and feel. With this kind of freedom the film can focus on the action which is the best part of the TMNT lore. Though the demographics may skew male ages 8-11 (as well as those 8-to-11-year-old boys who loved it back in the day and are now grown men) TMNT is just your basic supercharged animated fun.
Based on E.B. White’s enduring children’s story we meet Wilbur the Pig (Dominic Scott Kay) a runt who is saved from the axe by a little farm girl named Fern (Dakota Fanning). She raises Wilbur from infancy but eventually she has to send Wilbur over to her uncle’s neighboring farm since there’s no room for a pig in her house. There in the barn Wilbur meets the assortment of colorful animal characters: Betsy (Reba McEntire) and Bitsy (Kathy Bates) two pessimistic cows; motherly goose Gussy (Oprah Winfrey) and her henpecked hubby Golly (Cedric the Entertainer); Samuel (John Cleese) an uptight sheep; the skittish horse Ike (Robert Redford); the self-serving rat Templeton (Steve Buscemi); and of course sweet Charlotte (Julia Roberts) a spider with a heart of gold. When the naïve Wilbur finds out he might be Christmas dinner Charlotte makes a promise to her new friend that she’ll do everything in her power to make sure Wilbur sees the Christmas snow—and everyone ends up helping her out. What could be more fun than to voice a barnyard animal? Winfrey and Cedric’s geese banter is like an old married couple. Cleese gives Samuel the sheep a certain upper-crustiness. Redford is actually pretty funny as a horse who’s deathly afraid of spiders (“I’ll listen to you but I just can’t look at you”). Buscemi is a particularly nice choice as the sneaky rat Templeton who only thinks about filling his belly with food (no typecasting there we swear). For pure comic relief there are also two crows voiced by Andre Benjamin and Thomas Haden Church who just can’t quite get around the whole scarecrow thing. And as Charlotte Roberts has a truly soothing and loving tone sort of how you’d imagine it from the book. As for the human aspect Fanning continues to do what she does best playing Fern with the right amount of youthful innocence spunkiness and determination. Just wondering how we are going to handle it when this amazing little actress grows up and starts doing like adult things. Actually it is sort of a shame they couldn’t get a live-action version of Charlotte's Web made before Babe. Sure there was the 1973 animated cutesy film but a live-action adaptation of this timeless tale really should have been the standard by which all computer-generated talking farm animal movies would follow don’t you think? Instead Charlotte's Web pales ever so slightly in comparison. Oh well water under the bridge. Director Gary Winick (13 Going on 30) still manages to invoke the wonderful and uplifting spirit of the novel keeping faithful to the text in all ways. Visually the film is crisp and flawless in its execution particularly in the beauty and splendor of how Charlotte spins her webs and emotionally hearts will indeed swell and tears will flow. Charlotte's Web is the perfect family movie to inspire the next generation of young readers and viewers as well as for the rest of us who fondly remember the childhood classic.
Like Madagascar the story starts at the New York Zoo. Samson (Kiefer Sutherland) the lion is once again the star of the show but unlike Madagascar’s Alex Samson claims he came from the wild. He regales the other odd assortment of zoo denizens--including a talkative giraffe (Janeane Garofalo) a lisping anaconda (Richard Kind) a snarky Koala (Eddie Izzard) and a take-charge squirrel (Jim Belushi)--with tales of danger and excitement abroad. Of course Samson can’t tell the real truth that he was actually born in captivity and is making it all up because everyone including his rebellious teenage son Ryan (Greg Cipes) would think less of him. But when Ryan runs away thinking he can’t live up to his dad’s reputation and is mistakenly shipped off to the wild Samson has keep up the charade as the gang embarks on a dangerous mission to rescue him. The lion does come clean at some point in case you were wondering. Another vocal roster of big names another dollar. This time around we’ve got Sutherland Garofalo Belushi all doing the animal thing. There’s also William Shatner as a villainous wildebeest headed for the loony bin after deciding he’s tired of being the prey and turns predator. He’s even got his herd of wildebeest dancing a Busby Berkeley number around a volcano á la Lion King. Sigh. Luckily there is one saving grace--sort of: Izzard as the wisecracking Koala bear Nigel who gets mistaken for a god by the wildebeest and milks it for all its worth which isn’t a whole lot. Still if anyone has seen the British comedian’s hilarious HBO special Eddie Izzard: Dressed to Kill you can just imagine him strutting around as a Koala dressed in women’s clothing and doing his shtick. The Mouse House once again proves it doesn’t have an inventive bone in its body--or even the gumption to realize that had something with potential. Apparently the pitch from writers Mark Gibson and Philip Halprin had been mulling around Disney for about nine years before it got made giving the likes of Nemo and Madagascar a head start (I’d be peeved if I were those writers). But even if The Wild did come first it still wouldn’t be able to measure up mostly because the story is insipid. Wildebeest turning into predators? What’s THAT all about? The CGI-animation is spot on of course but we are definitely taking all of that for granted these days. No now what we want is a good compelling story. If not that then at least we should have a couple of really funny characters--like commando penguins or a fish with short-term memory--to help things move along. The Wild doesn’t have either so while children may be left mildly entertained for an hour and a half parents will be left twiddling their thumbs waiting for it to be over.
Helen McCarter (Kimberly Elise) thought she had the perfect life with lawyer husband Charles (Steve Harris): a big house lots of creature comforts and a stable--albeit staid--marriage. But Helen's world shatters when Charles tells her on the eve of their 18th wedding anniversary that he wants a divorce and literally kicks her out of their spacious mansion to make room for another woman. Devastated she runs to her beloved pot-smokin' gun-totin' grandmother Madea (Tyler Perry) who lets Helen know she's a proud beautiful black woman who nonetheless should whoop the bastard's ass. As hurt as she is Helen really just wants to pick up the pieces and move on if she can. She finds guidance and empowerment from her family and friends including new friend Orlando (Shemar Moore) a drop-dead gorgeous construction worker whose sweet and sincere ways more than help Helen get through her pain. And he cooks too. Really there's no contest.
The main cast members aptly portray their roles formulaic as they are. Kimberly Elise (The Manchurian Candidate) as the grievously wronged wife has the toughest job trying to convey all the crazy mixed-up feelings Helen has for the ex-husband while trying to jumpstart her life. Steve Harris (TV's The Practice) as the callous husband and Shemar Moore (TV's The Young and the Restless) as the too-good-to-be-true suitor represent the two opposites sides of the coin. Even Cicely Tyson makes an appearance as Helen's invalid mother who seems just a little too healthy to be in a nursing home. But it's Tyler Perry who turns out to be the true mad black woman. The film comes alive when he's onscreen either playing the outrageous Madea--complete with wig makeup and padding--or Madea's brother Joe a lecherous old coot. Perry even gets to play it straight as Helen's kindly cousin Brian who has a junkie for a wife (played by Tamara Taylor with the usual vacant twitchy neediness). It would have been a long hour and a half without him.
Perry obviously writes from the heart having struggled through his younger years to become a well-known playwright. And with music video director Darren R. Grant at the helm Diary of a Mad Black Woman has all the best intentions. It's certainly a buoyant portrait of African-American life and culture that also speaks to anyone who has had to grapple with betrayal and hurt at the hands of those they love. But the stage-trained Perry somehow misses the subtleties of writing for film. Diary doesn't know what kind of genre it wants to be jumping from raucous comedy á la Big Momma's House to mind-numbing drama á la Waiting to Exhale. The characters don't have any complexities and are drawn very black or white. It also takes an awfully long time for our heroine to figure out what direction she's going to take when we could tell her in the first 30 minutes as to whom she should end up with. In the meantime we must endure several melodramatic set pieces filled with elaborate speeches about revenge love relationships redemption religion and all that which are meant to hit us hard with their poignancy. Perry might consider keeping the highfalutin writing for the stage and think about an acting career in film.