In This Means War – a stylish action/rom-com hybrid from director McG – Tom Hardy (The Dark Knight Rises) and Chris Pine (Star Trek) star as CIA operatives whose close friendship is strained by the fires of romantic rivalry. Best pals FDR (Pine) and Tuck (Hardy) are equally accomplished at the spy game but their fortunes diverge dramatically in the dating realm: FDR (so nicknamed for his obvious resemblance to our 32nd president) is a smooth-talking player with an endless string of conquests while Tuck is a straight-laced introvert whose love life has stalled since his divorce. Enter Lauren (Reese Witherspoon) a pretty plucky consumer-products evaluator who piques both their interests in separate unrelated encounters. Tuck meets her via an online-dating site FDR at a video-rental store. (That Lauren is tech-savvy enough to date online but still rents movies in video stores is either a testament to her fascinating mix of contradictions or more likely an example of lazy screenwriting.)
When Tuck and FDR realize they’re pursuing the same girl it sparks their respective competitive natures and they decide to make a friendly game of it. But what begins as a good-natured rivalry swiftly devolves into romantic bloodsport with both men using the vast array of espionage tools at their disposal – from digital surveillance to poison darts – to gain an edge in the battle for Lauren’s affections. If her constitutional rights happen to be violated repeatedly in the process then so be it.
Lauren for her part remains oblivious to the clandestine machinations of her dueling suitors and happily basks in the sudden attention from two gorgeous men. Herein we find the Reese Witherspoon Dilemma: While certainly desirable Lauren is far from the irresistible Helen of Troy type that would inspire the likes of Tuck and FDR to risk their friendship their careers and potential incarceration for. At several points in This Means War I found myself wondering if there were no other peppy blondes in Los Angeles (where the film is primarily set) for these men to pursue. Then again this is a film that wishes us to believe that Tom Hardy would have trouble finding a date so perhaps plausibility is not its strong point.
When Lauren needs advice she looks to her boozy foul-mouthed best friend Trish (Chelsea Handler). Essentially an extension of Handler’s talk-show persona – an acquired taste if there ever was one – Trish’s dialogue consists almost exclusively of filthy one-liners delivered in rapid-fire succession. Handler does have some choice lines – indeed they’re practically the centerpiece of This Means War’s ad campaign – but the film derives the bulk of its humor from the outrageous lengths Tuck and FDR go to sabotage each others’ efforts a raucous game of spy-versus-spy that carries the film long after Handler’s shtick has grown stale.
Business occasionally intrudes upon matters in the guise of Heinrich (Til Schweiger) a Teutonic arms dealer bent on revenge for the death of his brother. The subplot is largely an afterthought existing primarily as a means to provide third-act fireworks – and to allow McGenius an outlet for his ADD-inspired aesthetic proclivities. The film’s action scenes are edited in such a manic quick-cut fashion that they become almost laughably incoherent. In fairness to McG he does stage a rather marvelous sequence in the middle of the film in which Tuck and FDR surreptitiously skulk about Lauren's apartment unaware of each other's presence carefully avoiding detection by Lauren who grooves absentmindedly to Montel Jordan's "This Is How We Do It." The whole scene unfolds in one continuous take – or is at least craftily constructed to appear as such – captured by one very agile steadicam operator.
Whatever his flaws as a director McG is at least smart enough to know how much a witty script and appealing leads can compensate for a film’s structural and logical deficiencies. He proved as much with Charlie’s Angels a film that enjoys a permanent spot on many a critic’s Guilty Pleasures list and does so again with This Means War. The film coasts on the chemistry of its three co-stars and only runs into trouble when the time comes to resolve its romantic competition which by the end has driven its male protagonists to engage in all manner of underhanded and duplicitous activities. This Means War being a commercial film – and likely an expensive one at that – Witherspoon's heroine is mandated to make a choice and McG all but sidesteps the whole thorny matter of Tuck and FDR’s unwavering dishonesty not to mention their craven disregard for her privacy. (They regularly eavesdrop on her activities.) For all their obvious charms the truth is that neither deserves Lauren – or anything other than a lengthy jail sentence for that matter.
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In the best move that DreamWorks Animation has made since producing How To Train Your Dragon, the Paramount-based studio has decided to wrangle the Penguins of Madagascar for their very own spin-off feature. Alan Schoolcraft and Brent Simons, who penned the company's winter hit Megamind, have been hired to develop and write the script for the undated project, says THR.
Anyone who's seen the Madagascar films (released in 2005 and 2008 to global grosses totaling more than $1 billion) knows that the core characters were never the funniest; that honor belongs to Sacha Baron Cohen's King Julien and the paramilitary penguins who commandeered a ship and put Alex, Melman, Marty and Gloria on to the wonder of sushi. After the success of the birds' hit Nickelodeon show (aptly titled The Penguins of Madagascar), the commercial viability of a standalone spin-off seems all the more appropriate and, thus, we have this glorious news.
There's no word on whether or not creators and directors Eric Darnell and Tom McGrath will be involved at this point, but personally I think that this flick sells itself; with some quirky dialogue and a wild adventure the Penguins are going to become huge stars in their own right.
What happens when a supervillain loses his superhero? The peculiar mutual dependence of the comic book protagonist/antagonist relationship and the strange emptiness that arises upon its dissolution forms the basis of Dreamworks’ Megamind an exuberant new animated comedy from director Tom McGrath (The Madagascar films) and writers Alan J. Schoolcraft and Brent Simons.
Funnyman Will Ferrell lends his voice to the title character a blue-skinned green-eyed alien whose mammoth hairless cranium has over the course of his career as a supervillain given life to an endless array of exotic inventions and elaborate schemes all in the service of his lifelong dream of conquering his adopted hometown of Metro City. Despite his creativity and obvious intelligence he’s been continually thwarted in his efforts by the city’s champion Metro Man (Brad Pitt) a preening show-off whose otherworldly physical gifts seem destined to forever trump Megamind’s cerebral ones.
Accustomed as he is to defeat Megamind is as surprised as anyone when he learns that his latest attempt at vanquishing his arch-rival has met with success. At a press conference convened to celebrate his newfound dominion over Metro City he is utterly flummoxed when the town’s ace reporter Roxanne Ritchi (Tina Fey) presses him to reveal what sinister plans he has in store for the panicked populace. So focused was Megamind on his rivalry with Metro Man that he hadn’t bothered to ponder what he’d do in the unlikely event that he won.
Together with his sidekick a fish-headed cyborg named Minion (David Cross) Megamind rampages unhindered through Metro City terrorizing its citizenry and amassing untold riches. But these pursuits don’t yield nearly the joy he’d anticipated they would and having belatedly discovered that the evil journey is more important than the evil destination he begins pining for his old nemesis Metro Man.
I found myself missing him as well. From Dr. Evil to Despicable Me humanizing supervillains for comedic effect has been an exceedingly popular pastime in Hollywood in recent years. Less common is the examination of insufferably pompous “heroes” like Metro Man whose massive egos and diva antics are made tolerable only by their immense contributions to society. (Think Steve Jobs or Eliot Spitzer or Bono ...) Megamind opts to take the road more traveled and at times its story can’t help but feel like a bit of a re-hash despite how artfully rendered it is.
What it lacks in inventiveness Megamind makes up in wit intelligence and customarily gorgeous animation. After a truly dazzling opening act it wanders through a mid-point malaise before gradually gaining momentum as Megamind recognizing how hollow and meaningless his existence is without a worthy adversary with which to spar decides to literally manufacture one. But he is appalled to find that his new creation Titan (Jonah Hill) is far more interested in playing video games and acquiring shiny new toys than re-igniting the age-old battle between good and evil. When Titan's increasing nihilism imperils Metro City it's Megamind who emerges to defend it completing his unlikely journey from villain to hero to finally superhero.