A comedy featuring Steve Martin Jack Black and Owen Wilson creates certain expectations not the least of which is well laughter. But David Frankel’s (Marley & Me The Devil Wears Prada) anodyne feather-light film The Big Year in which the three actors star is less concerned with eliciting big laughs than offering earnest insights on the meaning of success and the value of friendship.
Delving into the subculture of hard-core birders (don’t call them bird-watchers) the film follows three men semi-retired industrialist Stu (Martin) schlubby corporate drone Brad (Black) and suburban contractor Kenny (Wilson) as they vie in a year-long competition known as the Big Year. The goal of the competition is simple: to spot as many different bird species in North America as possible. As current Big Year record-holder Kenny is something of a rock star in the birding world. His cocky carefree manner masks a stark determination to defend his hard-won celebrity – and his fragile ego – against the likes of upstarts Stu and Brad both of whom are Big Year rookies. None of the three leads stray far from type but they do offer slight tweaks to their usual screen personas: Wilson is sly and Machiavellian; Black tones down the buffoonery limiting himself to two (by my rough count) pratfalls; Martin’s sardonicism is tempered with humility.
There’s no prize for winning a Big Year; the sole reward is the adulation of fellow members of the birding community. Competition is surprisingly fierce. The three men frantically criss-cross the continent darting from one remote location to another in search of the next rare find. At first wary of each other Stu and Brad eventually unite over a mutual desire to defeat Kenny whose crafty gamesmanship has frustrated them both. Their strategic pact gradually evolves into a genuine friendship leading both men to discover that there are more important things in life than winning an amateur birding competition.
Shot on location in British Columbia the Canadian Yukon Upstate New York Joshua Tree and the Florida Everglades The Big Year is a visually striking film showcasing one breathtaking panorama after another. At times director Frankel appears more interested in the scenery than his characters who despite the script's copious exposition aren't particularly well-developed. The story at times seem aimless and unfocused and its relaxed pace may prove vexing for some. Indeed it did for me at first. But once I adjusted to its easygoing rhythm the film’s modest charms began to reveal themselves.
If a major motion picture studio gave you $50 million to make the movie of your choice what would it be like? If you’re producers Tim Bevan and Eric Fellner and writers Simon Pegg and Nick Frost it’d be a loving lampoon of geek culture and an homage to the films of the Spielberg/Lucas revolution but nostalgia is both an advantage and disadvantage in director Greg Mottola’s Paul.
Pegg and Frost star as a pair of nerds from across the pond who fulfill lifelong dreams when they fly to San Diego for the annual Mecca of nerdom Comic-Con. The doofy duo extend their trip to tour America’s extraterrestrial hot spots including Area 51 where they pick up an unexpected alien hitchhiker on the run from the proverbial men in black. Across the country they go getting into trouble picking up more passengers and building bromantic bonds as the little green man Paul inches closer to his escape from planet Earth and the shadowy government official who has been exploiting his knowledge of the universe since he crash landed in Wyoming over 60 years ago.
Fan-favorite filmmakers since 2004’s Shaun of the Dead Pegg and Frost have been making geek chic for years now and continue to create identifiable roles for themselves while finding humorous ways to write their like-minded friends into their movies. Their collection of wacky characters is charming if incredibly derivative but for better or worse they are the heart and soul of the film. Jason Bateman Kristen Wiig Bill Hader and Jo Lo Truglio turn in fun performances but I expected a bit more from the Jane Lynch David Koechner and Sigourney Weaver cameos. Still Seth Rogen’s vocal performance as Paul adds significant layers to an already adorable alien and enlivens the adequately rendered CG character.
The comedy is surprisingly sweet and doesn’t bite like Mottola’s Superbad though there are enough religious jabs and signs of anti-establishment fervor to call it mildly subversive. Lack of laughs isn’t the issue here; lack of originality is. Mottola is too dependent on pop-culture references and inside jokes pertaining to E.T. Star Wars and Close Encounters of the Third Kind so much so that the film ultimately becomes a parody of itself as its storyline mirrors that of Steven Spielberg’s massive 1982 blockbuster (in this world the movie mogul actually consults the incarcerated alien for inspiration for his beloved family film). While these nods are all amusing they’re not enough to carry the film and Mottola/Frost/Pegg offer little else. At its worst Paul will give you a reason to revisit those classic sci-fi staples and remember the good old days. At best it provides a few mindless chuckles and gives you good reason to give the geek next to you a great big hug.