“My dick is going to get so wet tonight ” declares Costa the foul-mouthed ringleader of a trio of sex-starved teens in the opening moments of Project X the new “found-footage” comedy from director Nima Nourizadeh and producer Todd Phillips (The Hangover). Believe it or not this qualifies as one of his more charming moments in the film. All of 17 but blessed with an obnoxiousness lesser men would take decades to cultivate Costa (Oliver Cooper) is the perfect mascot for a film that makes no bones of its mostly prurient intentions proffering what is essentially a succession of debaucherous montages intermingled with uneven attempts at comedy and held together by the slimmest pretense of a plot.
Caustic as he is Costa at least exhibits something of a recognizable personality; the same cannot be said of his two cohorts the tubby dweeb J.B. (Jonathan Daniel Brown) and the earnest blank Thomas (Thomas Mann). None of them seem to enjoy much in the way of popularity at their high school located in the fictional suburb of North Pasadena but Costa has a plan to fix that. On the occasion of his 17th birthday Thomas whose parents have conveniently departed for the weekend reluctantly agrees to host a party that Costa promises will be a “game-changer” for their lowly social status.
Hardly a game-changer is Project X’s script co-written by Matt Drake and Michael Bacall which mostly treads a predictable teen-comedy path. At its outset the party appears to be a bust. Soon however hordes of eager revelers descend upon Thomas’ house and the event swiftly devolves into a festival of wanton hedonism that would impress Charlie Sheen. The orgy of booze drugs and sex is captured by Nourizadeh in one impressively slick sequence after another set to a vibrant soundtrack.
To maintain the guise of an actual movie – and to occupy us between shots of topless beauties downing tequila and frolicking in the pool – Project X tosses in a few familiar tropes to push its story along: an unstable drug-dealer bent on revenge a buzzkilling neighbor seeking to end the night’s festivities prematurely a budding but hesitant attraction between Thomas and his childhood friend Kirby (Kirby Bliss Blanton). But the scenes are so hollow and contrived that you get the sense even the filmmakers don’t buy them and only added them to the film in a transparent ploy to forestall allegations of complete and utter vapidity. The efforts serve only to add a dash of the banal to the proceedings.
Project X’s natural forebears – R-rated teen comedies Superbad and American Pie – tempered their crudity and outrageousness with a surprising degree of depth and sincerity. Moreover they were actually funny. Project X is a shallow affair to be sure but a dearth of laughs is what ultimately dooms it. A belligerent little person who goes on a crotch-kicking spree after being tossed in an oven amounts to the film’s most sophisticated attempt at humor. More often it relies on recycled gags from previous films (including Phillips’ own library from Road Trip to The Hangover Part II) and Jackass-inspired mishaps.
The found-footage approach has proven to be a potent (if overused) tool in horror films but its utility in the service of comedy at least in the hands of Nourizadeh is limited. It mostly comes across as a needless gimmick good for marketing purposes but little else. Perhaps acknowledging as much Project X’s backup plan calls for an incessant raising of the stakes. As the once-innocuous gathering metastasizes into a fully-fledged riot one so dangerous that even the police dare not intervene the specter of parental disapproval gives way to the threat of incarceration and finally to the potential incineration of the entire neighborhood. The scale of the destruction is impressive – especially for such a (presumably) low-budget film – but like much of what precedes it almost entirely pointless.
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WHAT’S IT ABOUT?
The premise of It Might Get Loud is simple: three legendary guitarists Jimmy Page of Led Zeppelin The Edge of U2 and Jack White of The White Stripes talk about guitars. Hearing these masters muse on their instrument of choice is an appealing conversation even for those not adept at the device and it’s wholly fascinating for those who are. Beautifully lit high-def close-ups of the trio’s fleet of instruments also function as hardcore guitar porn for six-string enthusiasts.
The documentary-style flick directed by An Inconvenient Truth’s Davis Guggenheim is more than just 97 minutes of the three guitar heroes waxing poetic about their axes. Above all else It Might Get Loud is an homage to the talent and lives of these genre-altering musicians. Using the guitar as a point of entry Guggenheim coaxes stories musings and memories out of Page Edge and White each of whom has more than a few good tales to tell. The film follows each guitarist to their respective homes in England Dublin and Nashville and then finally to a soundstage in Los Angeles where the three legends meet to talk music. Then they have a jam session and fulfill a million musical fantasies.
WHO’S IN IT?
The cast is composed only of Jack White as the rogue of modern rock The Edge as the straight man and Jimmy Page as the elder statesman. They’re enough.
The film is an intimate foray into the lives and careers of three men who have changed the game of rock and roll. The guitar stuff is interesting but what’s better is hearing each guy talk about his start in music career progression recording iconic tracks etc. The film humanizes each musician especially White whose expertly manicured public persona is steeped in Dylan-esque mystery. Hearing the pale guy at the center of the peppermint-striped lore talk about growing up in Detroit filling his tiny childhood bedroom with musical equipment and cutting his first LP while working as a furniture upholsterer is welcome insight for fans.
It Might Get Loud is packed with rare footage photos and recordings from the careers of all three artists. We get to see Jimmy Page’s first appearance on British television as a boy The White Stripes doing a concert for the elderly and The Edge pulling out a box of unmarked cassette tapes popping one in and discovering it to the be an early version of “Where the Streets Have No Name.”
Until they meet at the soundstage “summit ” Page White and Edge are shot separately. While the intercutting of these segments is more or less seamless a few jumps are a bit clunky and the text mechanism that breaks the film into chapters comes off a touch hokey. These are small criticisms; the film is essentially a cinematic wet dream complete with epic soundtrack for anyone interested in the subject matter.
There’s a deluxe box set worth of amazing moments but the scene in which The Edge discusses his E chord stands out. With guitar in hand he explains that the particular chord typically has a bit of distortion inherent in its sound. He however has stripped his E chord of said excess noise and made it more basic. He plays both E chords and the difference is almost imperceptible. He says it’s this type of simplification that has given his guitar sound its trademark minimalism. This might seem like a trivial geeked-out detail until you consider that he's talking about a little-known contributing element of some of the most iconic guitar intros in popular music.
It’s also cool to watch the look on Jack White’s face as he hangs out with Jimmy Page. White seems barely able to control his excitement as Page gives him guitar pointers.
It Might Get Loud is a treat for anyone even a little bit interested in guitars rock and roll legendary bands musical history classic songs Led Zeppelin The White Stripes and U2. If you like any of these things even a little bit see this movie. It won't disappoint.
Of course 21 isn’t just about blackjack. It’s more about Ben Campbell (Jim Sturgess) a shy but brilliant M.I.T. student who--needing to pay Harvard medical school tuition--finds the answers in the cards so to speak. After dazzling his unorthodox math professor and stats genius Micky Rosa (Kevin Spacey) with some mathematical prowess Ben is quickly indoctrinated into Rosa’s group of “gifted” students who head to Las Vegas every weekend with the know-how to count cards and beat the casino at the blackjack tables. And win big they do. Ben is soon seduced by the allure of this luxurious lifestyle including his sexy teammate Jill (Kate Bosworth) but begins rebelling against the well-oiled machine Rosa has built. Apparently you don’t want to cross this particular math professor--nor the old-school casino security consultant (Laurence Fishburne) who has set his sights on Ben as a master card counter. It’s not illegal to do that but the casinos don’t much like it when they catch you doing it. Hey what happens in Vegas…oh you know the rest. The most well-rounded performance comes from the British Sturgess best known for singing Beatles’ songs in Across the Universe. His Ben starts out as a naive math whiz/nerd whose biggest thrill is designing the perfect science project for an M.I.T. contest but then becomes the smooth Vegas dude with the nice clothes and hot girlfriend and finally turns into the guy who eventually loses it all. It’s not hard to see just how much Ben is going to change once he gets involved in the moneymaking scheme but Sturgess handles the transition with aplomb. The stiff Bosworth isn’t nearly as effective as his love interest but she has her moments. Also good for comic relief is Aaron Yoo (Disturbia) as one of the blackjack players who oddly enough is also a kleptomaniac. The performance drawbacks in 21 come from the more veteran players. Spacey and Fishburne seem to be going through the motions utilizing techniques they’ve used many times before. Spacey can whither whoever it is with that look of his while Fishburne postures as he always does. It’s too bad they couldn’t have put in more effort. As with any movie in which the action is inherently stagnant (i.e. sitting at a blackjack table) the question is how to keep things visually stimulating. That’s where director Robert Luketic--who up to this point has only done broad comedies such as Legally Blonde and Win a Date with Tad Hamilton--comes in. Luketic does a fine job maneuvering the camera around the tables creating slo-mo close-ups of the cards and incorporating a cool soundtrack. A good montage or four usually can also work well in a situation like this and Luketic fully utilizes that technique--from the kids winning to them spending their money in gloriously obscene ways. Based on the book Bringing Down the House: The Inside Story of Six M.I.T. Students Who Took Vegas for Millions 21 has the extra advantage of being a somewhat true story as well. But the script from Peter Steinfeld and Allan Loeb basically copies from other sources and never really distinguishes itself.
In the tradition of Batman Begins and Casino Royale the clock is rolled back on the legendary icons the D—the self-proclaimed greatest band in the world—as the curtain is pulled back on their secret origins and the demons that drive them are unveiled… OK so it’s not really that deep. Though the heavy metal/comedy combo of Jack/JB/”Jabeles” (Jack Black) and Kyle/KB/”Kage” (Kyle Gass) have long played hip clubs cut an album starred in their own short-lived HBO series and amassed a devoted cult of fans their first feature film reveals how the pudgy duo first meet form the band meet their first fan (Jason Reed as TV holdover Lee) go questing the fabled Pick of Destiny—a shard of Satan’s tooth turned into a guitar pick passed among rock’s most accomplished shredders—and ultimately smack down with the devil himself. Believe it or not it’s a love story. Thanks to their long professional partnership Black and Gass comprise two perfectly crafted sides of a very polished comedy coin: Black is the wild-eyed uncontrolled id Gass is the low-energy manipulative slacker and they meet in the middle with an equal amount of unchecked delusion about their musical ability and potential. They both deftly pull off the trickiest types of comedy: smart jokes in the guise of dumb characters and it’s nice to see Black—obviously the bigger film star of the two—share the funniest bits equally with Gass. Of course all of this hinges on the audience’s tolerance for the ambitiously clueless ego-cases (and moviegoers who only love Black for his tamer version of the same persona in School of Rock should be warned—this is the cruder ruder and more profane incarnation) but we admit we’ve long had a taste for the D. They boys carry they movie squarely on their shoulders though longtime D supporters Tim Robbins and Ben Stiller stand out in cameos—the first Stiller cameo in ages that’s both amusing and non-gratuitous! Also appearing in small bits: SNL’s Fred Armisen and Amy Poehler Oscar-nominee Amy Adams Colin Hanks hard rock hero Ronnie James Dio Foo Fighter Dave Grohl as Satan and an uncredited John C. Reilly though you’ll never ever recognize him when he’s onscreen. And kudos to whoever had the inspired notion to cast Meat Loaf as JB’s pious father and Troy Gentile as the young rockin’ JB (Gentile also played a junior version of Black in Nacho Libre). Helmer Liam Lynch who also collaborated on the screenplay with Black and Gass and directed their music video “Tribute ” understands the absurd world of the D completely and demonstrates a clever assured sense of straight-faced silliness. Indeed the first ten minutes of the film alone—a mini-rock opera in itself—announce him as a comedy director to watch. Although we’re sure the bandmates themselves would take full credit for the film’s success. After all they may not have made the greatest movie in the world but in D-speak they came up with a pretty rockin’ tribute version.