It is my estimation that there are very few people on the fence about seeing a movie about the universe of college a capella. The people who want to see this movie would all but kill to do so — on the other hand there are those who’d rather endure a three-hour documentary on the referendum to criminalize the distribution of lead-based paints. I was hardly in the latter category upon approaching Pitch Perfect. I wholeheartedly enjoyed the seasonal performances of my college’s championship-winning a capella group the Binghamton Crosbys (namedrop). I would happily welcome an influx of musical films to mainstream Hollywood. I really really liked the first season of Glee. I say all this to illustrate how open to the idea of Pitch Perfect I was and how much I really wanted to like the movie. Unfortunately as I would reluctantly acknowledge not long into the picture Pitch Perfect was missing many of its marks. Not all but many.
The movie touts itself not as Glee: The Movie as many on the opposing side are likely to deem it but as something far more self-aware. There are a handful of jokes about the rigid containment of the a capella world’s celebrity with remarks that all the authentically cool kids at the central Barden University exist beyond the confines of the a capella community. Unfortunately while it strives to adopt a self-deprecating attitude toward the tropes of the genre it draws the line at the rejection of the more hackneyed elements of its romantic and interpersonal storylines.
While the story is based in the always-worth-revisiting “be yourself” underdog theme it doesn’t quite execute this idea with full force. The highly talented Anna Kendrick plays Beca a “rebellious” aspiring deejay enticed into the nearly defunct Barden Bellas by well-meaning vet Chloe (Brittany Snow) due to her natural skill for singing but disliked by queen bee Aubrey (Anna Camp) for being just a little too different. But in all honesty she’s hardly different enough to evoke our sympathies. In fact the only outstanding characteristics Beca seems to have is that she’s pretty self-entitled and always a little bit miffed. Still she’s the apple of everyone's eye including the guileless flimsy male lead Jesse (Skylar Astin) who himself is a cherished new member of Barden's rival a capella group the all-male Treblemakers — led by the wickedly obnoxious top dog Bumper (Adam DeVine). Beca and Jesse are meant to found the real emotional crust of the movie; he teaches her about the greats of cinematic soundtracks and about not pushing people away and she... well she doesn't really teach him about anything. Their relationship lacks the real substance that would effectively carry the film based primarily on the fact that they're both cute and microscopically off-center.
And then there are the supporting characters — the Bellas' team of misfits whom we're meant to love. Rebel Wilson leads this pack as the kooky brazen self-decreed Fat Amy. Beside her the sexually-charged Stacie (Alexis Knapp) the quiet psychopath Lilly (Hana Mae Lee) and Cynthia Rose (Ester Dean) whose alluded homosexuality is quite unfortunately the punchline of her character among a few faceless sub-supporting characters. And while the theme does don a sheath of the classic “be yourself” mindset it seems to be more interested in poking fun of these girls and their quirks than it is in celebrating them.
But they do band together they do develop a camaraderie and they do come to compromise their differences in order to better one another and the team. And then comes the final musical number.
See for all of the film's faults there is something it knows how to do: it puts on one hell of a show. As much of a cynical nitpicker as you might be once the Bellas' final performance on the competition mainstage takes way you're bound to enjoy it. Showcasing the individual vocal talents of each of the (primary) singers sewn together in an expertly crafted compilation piece viewers are likely to get a chill or two. This is where Pitch Perfect hits: in its sheer unembarrassed celebration of a capella of music in general and of the girls onscreen. The movie makes the mistake of trying to have it both ways. When it goes for self-deprecation it makes it look all the more unaware of its inherent flaws in plot and character. But in being what plenty of people would be just fine with — an a capella movie that isn't ashamed of loving a capella any more than its over-the-top characters are — it succeeds. Unfortunately this sentiment feels limited to the final performance of the film. But to its credit it's a performance good enough to make up for a whole lot of the stuff that leads up to it.
We meet the two very unlikely sisters while each are having sex. Rose Feller (Toni Collette) is a successful lawyer who is sleeping with her boss and thinking of ways it can improve her career. Maggie Feller (Cameron Diaz) is a party girl and at her 10-year high school reunion--after trying to have a fling in a bathroom stall--she ends up puking instead. Inevitably Maggie gets kicked out of her dad and stepmother's house and winds up on the doorstep of her sister. The Feller girls were close once when they were young girls especially after their mentally unstable mother died. But now their grown-up personalities clash rather dramatically. And when Maggie seriously crosses the line by seducing Rose's new boyfriend the straw is broken. Forced out Maggie stumbles upon some birthday cards from a long-lost grandmother and decides to go hit her up for cash. Turns out Grandma Ella (Shirley MacLaine) lives in a senior citizen's community in Florida that gets its humor from Golden Girls re-runs. Maggie may ingratiate herself within this new environment but isn't any more redeemed by reconnecting with Ella. She still acts like a petulant child. But rather than throwing her out Ella along with the gang of old folk forces Maggie to take some responsibility.
Collette (The Sixth Sense) is fantastic as the frumpy pudgy Philadelphia lawyer who gives up everything so she can walk dogs and lead a simpler life. But she's done this many times before--and honestly is so much better than Muriel's Wedding. Diaz (my personal favorite Charlie's Angel) doesn't need to stretch too far to play a conniving ditz with a heart. This is her There's Something About Mary role albeit a tad more screwed-up with a sister and lost grandma. So that leaves MacLaine as the saving grace for any worthwhile acting in this movie. Despite the obvious shuffleboard clichés--and the occasional leers at Diaz by the old guys around the pool--when the old folk are around the film gets lively and tolerable believe it or not. MacLaine leads the way with the quips and barbs but in a more subtle way than we are used to from this usually eccentric actress. The supporting cast of cranky cronies have some great moments especially veteran actor Norman Lloyd as the blind professor who teaches Maggie a thing or two about manners trust and family.
If this were Nora Ephron directing that would have been one thing but coming from Curtis Hanson the Oscar-winner who gave us L.A. Confidential it just doesn't mesh. Hanson can do quirky (Wonder Boys) he can do adventure (The River Wild) he can do hard-hittin' rap stories (8 Mile) and he can even do scary (Hand That Rocks the Cradle) but why in the world would he attempt a saccharine-soaked female family story that threatens to be a Crimes of the Heart tear-jerker? Screenwriter Susannah Grant who adapted In Her Shoes from Jennifer Weiner's popular bestseller of the same name also wrote Erin Brockovich and 28 Days. She understands strong female characters but there's still a major layer of sugar coating that Hanson can't scrape off. He doesn't tone anything down from Grant's script--not the overly cute dogs nor the embarrassing bridal shower nor the expected moments of guilt-tripping between the ladies. Instead he plods through the paint-by-number script and wraps it all up nicely into a crowd-pleasing film that is ultimately forgettable.
Based on a series of six Marvel Comics created by writer Stan Lee and artist Jack Kirby in 1962 The Hulk revolves around a scientist named Bruce Banner (Eric Bana) who following a laboratory snafu absorbs a normally deadly dose of gamma radiation. Bruce thinks he has escaped unscathed--until he gets mad ... real mad which causes him to turn into a huge rampaging green monster known as the Hulk. In order to make this 40-year-old gamma theory somewhat more believable for today's science-savvy moviegoers screenwriter James Schamus and his team decided to arm the script with a somewhat more convincing scientific rationale. The story follows Bruce's father David Banner (Nick Nolte) who as a young scientist conducted prohibited genetic experiments on himself thus changing his son's life before he was even out of the womb. While modernizing the scientific reasoning behind Bruce's transformation makes sense it's a pity it had to be done in such a heavy-handed way. By adding such an elaborate layer to the story The Hulk becomes more about Bruce and David's tormented past and any semblance of a plot is buried in melodramatic dialogue between the characters. The result is a comic book adaptation that is much too serious for its own genre.
Despite the theatrical discourse don't expect complex characters to emerge from The Hulk. Although Bana (Black Hawk Down) is a good choice for the lead of the nerdy scientist and reluctant hero his character is so busy pretending he doesn't have any problems that the audience never gets to see his emotional side. Bana's character grimaces convincingly as he represses his anger for example but he fails ever to open up on a personal level to his love interest in the film his co-worker Betty played by Jennifer Connelly (A Beautiful Mind). Betty is Bruce's old flame but the two are obviously still in love: she is obsessed with fixing whatever is broken about him. As the Hulk Bruce need only look at Betty once for his anger to subside and allow him to morph back into human form. They have weighty discussions about the significance of their dreams and Bruce's past yet they never seem to connect on any level. One of the film's best performances comes from Nolte (The Good Thief) in the role of Bruce's mad scientist father David. Almost Shakespearean at times Nolte--scraggly hair and all-- completely immerses himself in the role. The cast's performances however are muted by the general heaviness of this would-be actioner. Look for quick cameo appearances by Lou Ferrigno (from the 1970s TV series The Incredible Hulk) and Marvel legend Stan Lee.
For his follow-up to Crouching Tiger Hidden Dragon Ang Lee has turned to bigger greener matters. The Hulk the director's visual effects-intense picture (with a little help from Industrial Light & Magic) is stunning and startlingly well done. The green beast's computer generated movements from his heaving chest to the single leaps that spring him well into a different zip code are convincingly real. Not only does the ground shake when this goliath lands but his momentum even throws him off balance at times sending his lumbering arms flailing. But while the CGI Hulk has been meticulously honed Lee's homage to the world of print comic books--using multiple screens to present concurrent storylines and alternate angles of the same scene--is off-putting: Rival researcher Glenn Talbot (Josh Lucas) suspiciously walks out of the lab Betty reacts in one panel Bruce sits back in another. The simultaneous screens don't necessarily show anything pertinent going on making the far and wide close and medium shots of the character's reactions a distraction rather than a helpful storytelling technique. But the most disconcerting thing about the film is that in its leap from the four-color paneled pages to the big screen it lost its wit.
In this latest doomsday pic Earth's inner core has stopped rotating a situation that will eventually cause the planet's electromagnetic fields to collapse. If it isn't fixed pronto static charges will create "super storms" that will generate hundreds of lightening strikes per square mile and cause microwave radiation to ultimately cook the planet. Government and military officials conjure up a team of scientists led by geophysicist Josh Keyes (Aaron Eckhart) to travel to the planet's core and get it spinning again. Accompanying them are geophysicist Dr. Zimsky (Stanley Tucci) atomic weapons expert Dr. Levesque (Tchéky Karyo) "terranauts" Major Childs (Hilary Swank) and Commander Iverson (Bruce Greenwood) and Dr. Brazzelton (Delroy Lindo)--the renegade scientist who built the subterranean vessel. Their mission is to travel to the center of the earth to detonate a nuclear device that will hopefully jump-start the core and save the world. Like the "terranauts" grinding their way through Earth's layers to get to the planet's core The Core laboriously plods through the storyline to get to its climax--and both are equally uneventful.
Despite a really corny scene in which he demonstrates what will happen to the planet by torching some sort of fruit on a fork Eckhart (Possession) is believable as the sensible Keyes. Co-star Swank (Insomnia) meanwhile brings intensity to the role of fledgling astronaut Childs. It is Tucci (Big Trouble) however who creates the film's most interesting character the arrogant Dr. Zimsky. The diva-esque geophysicist heads to the center of the earth in style with his Louis Vuitton monogrammed canvas bag and an endless supply of cigarettes--making him politically--and refreshingly--incorrect. You'll love how he pompously records the mission's progress in a Carl Sagan-style narration. Back at mission control D.J. Qualls' computer-hacking character Rat mirrors a recent report describing the characteristics of computer virus writers: Male. Obsessed with computers. Lacking a girlfriend. Aged 14 to 34. Capable of sowing chaos worldwide. Qualls (The New Guy) couldn't be more suited for this digital graffiti artist role.
Director Jon Amiel helps define the film's main characters by weaving vignettes of their everyday lives throughout the first half of the film but so much effort is devoted to exploring their individual backgrounds that relationships among the team members are never established. The minor characters are like extras in a Star Trek episode--they're just onscreen to die. The Core also fizzles as a believable disaster movie because of its flimsy scientific reasoning even if you try to suspend your disbelief for the sake of cinematic "escapism." While I can make myself believe for example that a government-created weapon of mass destruction is to blame for the planet's imminent annihilation I cannot buy into the notion that this high-tech vessel was built by a renegade scientist in his backyard and is able to withstand the rough trip to the center of the earth. Although the film's original November release date was delayed because more time was needed to complete the special effects don't expect to be visually dazzled by the voyage. Most of what we see is what the "terranauts" see on their screen: spotty black-and-white renditions of sharp jagged rock. Scenes of the Roman Coliseum getting zapped by lightening and San Francisco's Golden Gate Bridge melting aren't convincing either.