WHAT IT’S ABOUT?
Proving that everything “old” can be new again 17 Again opens in 1989 where star basketball player Mike O’Donnell turns his back on a college scholarship deciding instead to marry his girlfriend Scarlet when she reveals they are suddenly expecting a baby. Cut to 20 years later Mike’s marriage and job are floundering when he is physically transformed back into his 17-year-old self although his mind and sensibilities still remain that of a decidedly square thirtysomething dude. With the help of his nerdy-turned-billionaire best childhood buddy Ned he gets himself enrolled in the same school his own teenage kids now attend. Can he help them avert the same kinds of mistakes now that he (sorta) has a second chance to change?
WHO’S IN IT?
Zac Efron (High School Musical) shoots and scores in a breakout starring role. He shows he’s got the comic chops to believably pull off the way-out-there premise of being a 37-year-old trapped in a 17-year-old’s body. Matthew Perry (Friends) does a nice job bookending the movie as the older Mike but it’s Efron’s show all the way. Thomas Lennon follows up his hilarious supporting antics as the spurned man-date in I Love You Man with some equally amusing work as Mike’s friend Ned while Leslie Mann plays the estranged wife in style. As Mike’s kids who unknowingly become high school buds with their own father newcomer Sterling Knight and Michelle Trachtenberg get enough screen time to shine. Melora Hardin (The Office) is also quite funny as the school principal that lovelorn Ned keeps stalking.
Although the premise of the adult/kid switcheroo has been done to death director Burr Steers and writer Jason Filardi take it one step further a la It's a Wonderful Life or Damn Yankees by letting their main character regain his youth for the chance to see what his life would be like if he could live it another way. This fanciful premise makes this “teen” comedy one that adults will probably enjoy even more.
The filmmakers sometimes have a tendency to go over the top particularly in the "Star Wars fight sequence" when the newly transformed Mike confronts old friend Ned with the news and a laser battle erupts (!). Another scene where 17-year-old Mike is seduced by his own unwitting daughter may be funny but it veers a little too far into creepy territory.
DOES THIS SOUND FAMILIAR?
If you like 17 Again try renting 18 Again in which 81-year-old George Burns switches places with his grandson. Or how about Big Vice Versa Like Father Like Son or either version of Freaky Friday? And who said there are no original ideas in Hollywood ...
NETFLIX OR MULTIPLEX?
A no-brainer — the "Zac Pack" will be out in force on opening day.
In yet another variation on the shopworn road picture in which two mismatched former buddies are forced to cross the country together Soul Men’s uneasy brand of overly broad humor and contrived situations is saved intermittently by some cool musical numbers. But alas it’s not enough. Louis (Samuel L. Jackson) and Floyd (Bernie Mac) are part of a major musical group led by Marcus Hooks (John Legend) who goes solo leaving Floyd and Louis in the lurch. Fast forward 20 years Hooks has died and Louis and Floyd who did not end on good terms and have not spoken since have been coerced into appearing a tribute show for Hooks at New York’s famed Apollo Theatre. Afraid to fly they get in Floyd’s 1971 Cadillac El Dorado accompanied by a talented young woman (Sharon Leal) who may be Floyd’s daughter. Along the way they try to get their act up to speed by appearing in various redneck honky tonks filling the interminable 103-minute running time with a lot of unfunny sexual encounters and unbelievable situations. The late Bernie Mac was a terrific comic talent and is highly wasted in this mishmash in which he is constantly encouraged to mug for laughs. Mac is so much better than the lowbrow material he has to work with here that it’s a shame this film should stand as one of his last (at least there’s Madagascar 2). Faring even worse however is Samuel L. Jackson who is out of his element in a musical comedy and seems to be taking none of this hokum seriously. Thankfully the soulful musical numbers reminiscent of classic ‘60s Sam and Dave R&B are well chosen and capably performed even though neither Mac nor Jackson are known for their singing. Best number in fact is fronted by John Legend making his acting debut as Hooks. As the young eager beaver manager trying to get Floyd and Louis back together Sean Hayes is way too broad. Faring better is newcomer Adam Herschman as Hayes’ mop-topped intern who uses his fanboy infatuation with the pair to nice advantage. And there’s a nice now bittersweet bit near the end with the late Isaac Hayes. Malcolm Lee (Undercover Brother Welcome Home Roscoe Jenkins) is a director who tends to go for the slapstick when a little subtlety and believability would be more in order. With a great Sunshine Boys premise and some nifty musical material to pepper the proceedings Lee still manages to drop the ball letting his talented actors down and encouraging them to chew up every scene. The corny silly situations certainly doesn’t help matters with the road trip device feeling more like padding than anything else. Soul Men doesn’t find the right rhythms.
Peter Appleton (Jim Carrey) has it made. His screenwriting career is on the rise his first movie's just been made and he's got a cute girl. Life is good--until the House Un-American Activities Committee mistakenly fingers him as a Communist and he quickly falls from the A-list to the blacklist. Getting dumped by both his studio and his girl is nothing a little drinking can't remedy but after drowning his sorrows he nearly drowns himself when he decides to drive drunk and his car veers into the river knocking him unconscious. When Peter comes to he can't remember who he is or where he came from so he's taken in by the kindly people of Lawson a burg stuck in time and still mourning the loss of many of its sons in World War II. They mistake him for Luke Trimble one of their long-lost boys who went MIA in World War II and are overjoyed at his return. Luke's father Harry (Martin Landau) whose zest for life had dwindled so much that he let his beloved movie house The Majestic fall to ruin but with "Luke's" return he plans to reopen it. Celebrations abound. Peter-as-Luke even returns to his relationship with fiancée Adele (Laurie Holden). Meanwhile Peter may have forgotten who he was but the Feds haven't and they're on his tail.
When Carrey's given the right material like he was with The Truman Show he can exhibit moments of greatness. The Majestic doesn't give Carrey the leeway to show his quirky sensibilities demanding that he play it straight throughout the movie (there are a few--too few--glances at humor that Carrey doesn't play up). To bring off the kind of schmaltz this movie oozes Carrey had to bring something of an edge to his character. Instead Peter is neither likable nor unlikable coming off as a bland confused schmo until the climactic end which after two hours of his weak personality is wholly unbelievable. Landau is unexciting as a caricature of the sad sentimental old man without hope--you want to sympathize but there's something faintly chilly about him. Holden's liberated-woman lawyer might have played better in a contemporary movie; she looks and acts too much like a modern-day actress trying to portray a woman of the '50s.
Was this some kind of vanity project dreamed up by a director too taken with his own greatness and past success? Was Frank Darabont envisioning an It's a Wonderful Life for the next generation? (Psst…it's likely the majority of the modern moviegoing public doesn't know who Frank Capra is and could care less especially when the movie is as slow and as completely unbelievable as this one.) Apparently Darabont's in love with his own direction because hardly a moment goes by without some lingering reaction shot. Darabont took an intriguing story about amnesia and mistaken identity and slathered it with sap. Old-fashioned period stories can be lots of fun but it's imperative they be able to keep a present-day audience's interest by including a bit of modern wit and pace. Unfortunately this sticks to the straight-and-narrow. Nobody's going to buy the two-dimensional main characters the shiny happy townspeople or especially the schlocky my-country-'tis-of-thee finale. In its favor The Majestic's ultimate message is a nice one. The movie does have its heartfelt moments and its '50s feel is authentic if a little polished.