As a bearded hysterical Matthew Fox once said “We have to go back.” A simple phrase that proved inexorably memorable. The wish to go back in time — to relive the better days to prevent the worse — is universal. It’s a wish fueled by nostalgia and regret that makes up such a sorrowfully large component of man’s core. And it’s a wish that is right at the center of Safety Not Guaranteed a movie that tries very hard to do justice to its powerful theme.
Colin Trevorrow’s feature debut attacks the idea from a few different angles. In fact quite literally. The story opens with the abrupt introduction of a so-called nutcase (mumblecore king Mark Duplass) who is planning a voyage back to the year 2001 via a time machine he has allegedly built. Of course no one believes him. Not the sour crass magazine journalist (New Girl's Jake M. Johnson) whose job it is to chronicle the missions of this lunatic. Not his timid lonely med-student tagalong (Karan Soni). And of course not the center of the whole expedition: Darius (Parks and Recreation star Aubrey Plaza) the listless friendless post-grad magazine intern who is plagued by overt apathy and a bridled remorse over her mother’s untimely death several years earlier. Not at first anyway.
Darius agrees to the out-of-town excursion primarily to escape monotony. Arnau jumps on the bandwagon to bolster his résumé but also to stay close to Darius on whom he has a very obvious and very uncomfortable crush. And Jeff (Johnson) is actually on a quest to reunite with an old summer flame from his much happier teen years. All three characters embody the theme being driven home by Safety Not Guaranteed as does — most of all — aforementioned oddball Kenneth (Duplass) whose journey back in time revolves around his own attempt to recapture the lost love of a former girlfriend.
The pulp is there. The problem is the film never truly figures out how to showcase its internal. We never learn enough even subtextually about Darius to understand or appreciate her character entirely. The same goes for Kenneth — who yes is supposed to be mysterious but is also supposed to be sympathetic. Instead he remains at the same distance from the audience throughout the film; we never really figure out if he’s off his rocker or someone who just looks at the world differently.
The film is often a fun one: it serves as a playground for traditional ideas on the well-tread territory of time travel. Time travel tropes are tossed around with a quirky humor and an emotional investment in the genre the way real world friends might discuss the hypothetical. All starring parties and their supporting cast members are endearing and funny. But the emotionality never hits the stride it seems to be going for.
We know that the stories of Darius Kenneth Jeff and Arnau are supposed to be painful. Unfortunately not enough attention is paid to building these people’s heartbreaks. They come off as a bit superficial. As such their separate emotional storylines linked only in spirit come off as a bit disjointed.
At points the film’s stars’ performances seem like less gripping versions of their television characters. The most winning scene actually comes from the cast newcomer Soni whose grief-stricken Arnau could well hit a nerve for a few viewers. Admittedly some might fault Soni and his character for borrowing from the well of racial stereotypes — but that argument aside his personal climax makes his character the movie’s most memorable strength.
Safety Not Guaranteed has plenty of good in it and will most likely keep a willing participant entertained from beginning to end. It’s fun funny and conducive to the plight of the nerd slacker artist or whatever type of outcast group you might fall into. Unfortunately the film never climbs to the point of being as powerful a movie as its contents could justifiably make it. To put it in apropos time travel terms: you can muster up as many gigawatts of linoleum as you can find but without that flux capacitor at the center you’re not really going anywhere.
WHAT IT’S ABOUT?
Pixar makes it ten gems in a row with this enchanting animated story of 78-year-old Carl Fredricksen a recent widower who decides to fulfill his (plus his late wife’s) lifelong dream of tying thousands of balloons to their house and floating off to a mountaintop in South America. But he soon discovers a stowaway in the form of Russell a precocious eight-year-old “Wilderness Explorer” who he reluctantly allows to accompany him on his journey. Together the unlikely pair embark on the adventure of a lifetime encountering Kevin a rare 13-foot tall-flightless bird; Dug an overly-friendly talking pooch; and Charles Muntz a once-famous adventurer who now lives alone in a massive airship surrounded by a pack of attack dogs.
WHO’S IN IT?
Sticking to their general custom of casting actors not big stars in key voice roles Pixar assembled a superb cast for Up led by veteran TV star Ed Asner (The Mary Tyler Moore Show) as the aged Carl who takes flight in his house and finds there is a lot to learn about life even as you near death. Asner’s grumpy delivery provides the perfect counterpoint to nine-year-old Jordan Nagai’s Russell a bright and optimistic kid who proves an invaluable assistant to Carl throughout their journey. Christopher Plummer (The Sound of Music) is authoritative and intriguing as the obsessed Muntz and John Ratzenberger (Cheers) extends his streak of Pixar films to 10 as a construction engineer who tries to convince Carl to sell his house. Bob Peterson does delightful double duty as two of the key dog voices lovable Dug and the menacing Alpha head of the pack.
Like Pixar’s previous Oscar-winning masterpiece Wall-E Up is a ‘toon that is not content to explore the same places we’ve seen in previous animated blockbusters. Centering an action comedy around a 78-year-old man isn’t a strategy you’ll find in the youth-obsessed Hollywood recipe book but it pays great dividends here with a moral that life’s greatest adventure is the one you share with someone you love. The non-humans — particularly Kevin and Dug — are hilarious and unique and a silent sequence detailing the courtship and marriage of the Fredricksens is a sweet touch that could have come straight out of a Charlie Chaplin movie.
With a string of critically-acclaimed hits that includes Toy Story Finding Nemo The Incredibles Ratatouille Wall-E and now Up Pixar is ruining it for everyone else. There is simply no way they can be topped when it comes to pushing the boundaries of animated movies. Bad for other studios. Good for us.
Could Up which just became the first animated film to open the Cannes Film Festival also become the first to be nominated for the Best Picture Oscar since Beauty and the Beast in 1991 (before the Animation category was even established)? At this point in the year it’s actually a good bet. Whatever the case expect Up to earn several nominations come Oscar time.
A swashbuckling swordfight across the skies between two near-octogenarians? It’s the best action scene in a summer full of ‘em.
NETFLIX OR MULTIPLEX?
Oh pleeeeeease! Get to a theater fast. Up is also available in 3-D at select locations. Either way it’s a must-see.
Wracked by guilt over what she believes is her responsibility for the tragic death of her mother -- and running away from a distant father (Paul Bettany) -- 14 year-old Lily Owens (Dakota Fanning) takes off with her caretaker Rosaleen (Jennifer Hudson) and heads to the South Carolina home of the Boatwright sisters a place that holds many memories of her own mother’s childhood. She is immediately taken under their wing and bonds with August (Queen Latifah) the family matriarch who runs the enterprising bee farm on the property and teaches Lily the ways of the honey. There’s also the spirited June (Alicia Keys) a music teacher resisting the marriage proposals of the well-intentioned Neil (Nate Parker) and fragile and childlike May (Sophie Okonedo). In forging new relationships with these women a whole new world of self-esteem is slowly opened for Lily. For Dakota Fanning her performance in Bees marks a turning point into a new phase of her already impressive career and in Lily proves she is able to move effortlessly into strong teenage roles and more sophisticated material. She’s quite touching as a young Southern girl who comes of age with the help of some wonderful African-American women at the height of the Civil Rights movement in 1964. Hudson also proves she can move comfortably beyond her Oscar-winning powerhouse debut in Dreamgirls. In Rosaleen she gives voice to a young black woman who is determined to exercise her right to vote for the first time but at a price. Latifah is warm and commanding and the Queen bee of this clan and her scenes with Fanning are nicely toned. In an unusual cast with lots of singers-turned-actresses such as Hudson and Latifah Keys also shows smart acting instincts even if her interpretation of June is a little on the flat side. Okonedo (Hotel Rwanda) is simply wonderful and touchingly understated as the shy inward May. You wish there was more with her. Among the men Bettany takes a one-dimensional role as the demanding father and gives it some light while Parker (The Great Debaters) and Tristan Wilds as August’ godson and Lily’s new friend are spot on. Gina Prince-Bythewood who directs and smartly adapted the popular Sue Monk Kidd novel does go for the sentiment inherent in an old-fashioned story of this kind. But she also thankfully doesn’t pour it on. She creates a world in the deep South that doesn’t shy away from showing the harshness of life for African-Americans but whose lives at least politically are right at a major turning point. Most of all though she nurtures some lovely performances and brings an ensemble cast together with ease and heart. Prince-Bythewood whose breakthrough feature was the entertaining sleeper hit Love and Basketball clearly knows how to bring out the best in her actors. Secret Life of Bees elicits laughter and tears in equal doses proving to be the kind of not obviously commercial but uplifting movie-going experience rarely seen these days.
Pretty people just don’t understand—you’re not safe anywhere and all the sadists are after YOU! As the two geniuses in The Hitcher Grace (Sophia Bush) and her boyfriend Jim (Zachary Knighton) learn real quickly a cross-country trek to New Mexico in a beat-up car is especially risky. During their first night out on the open road it’s raining cats and dogs when they almost run over a man (Sean Bean) who’s standing aimlessly in the middle of the street his car apparently broken down. The young couple decides against lending him a helping hand with it pouring down rain and all. Bad move. When they stop for gas later Jim and Grace cross paths with the man who goes by the name of John Ryder. He asks the couple if he might hitch a short ride with them to a local motel. This time they oblige. Bad move. One aspect the studio must’ve loved about The Hitcher: Being shot primarily in a car the cast cannot feasibly be more than three deep—four tops. That also means that said cast must wear the tension well if the camera is to be on them throughout. Bush (TV’s One Tree Hill) the movie’s biggest asset as far as its target audience is concerned shrieks well and most importantly is smokin'. And when it comes time to fight back she doesn’t look so bad doing it even if there’s scant giggling in the theater at the now clichéd image of a weapon-wielding hot chick. As the hugely sadistic villain Bean (GoldenEye the LOTR movies et al) is more than adequately creepy. There’s something to be said with most of The Hitcher’s viewers’ inability to recognize him because an A-list movie star just wouldn’t work in this role. Obscurity aside Bean his face lurking around every corner will simply creep the crap out of the young audience. As for Knighton he seems and looks like the garden-variety up-and-comer and try as I might there’s nothing wrong with his biggest role to date—except a scene of um tug-of-war that is tough to watch or look away from. Veteran actor Neal McDonough also pops in with a brief role as a sheriff caught in the proverbial crosshairs. These days it’s tough to come up with anything new in a horror film—so directors just don’t bother. Save for neo-horror maestro Eli Roth there’s no originality to be seen especially when seemingly 99 percent of horror movies are remakes and when they’re not remakes they’re Primeval or Turistas. The Hitcher is much better than those two but director Dave Meyers truly eliminates most of the psychological aspect of the original 1986 Hitcher in exchange for a polished contemporary feel. Of course Meyers is one the most renowned music video directors of the past several years so it's no surprise when he mistakes volume for thrills; in fact the decibels will be the chief reason for almost all of the audience’s screaming. Not that there aren’t scary moments however. The writers Jake Wade Wall (When a Stranger Calls) and Eric Bernt (Romeo Must Die) actually get the film off to a brisk smooth start but they ultimately turn John Ryder into more of a Terminator-like character and ask for too many leaps of faith and suspensions of disbelief—again not that their intended audience won’t indulge them. At least the studio had the guts to retain the intended 'R' rating!