February 07, 2011 12:46pm EST
When a dramedy gets too sentimental it quickly becomes sappy but with the right balance – and the right actors – it can work well enough to entertain on multiple levels. Alexander Payne’s Sideways is a perfect example of tonal equality; bittersweet in every sense of the word but outright hilarious when the comedy gets going. I thought the best qualities of his direction would carry over into his latest production the recent Sundance entry Cedar Rapids. While his influence as producer is identifiable (particularly in its score) director Miguel Arteta (The Good Girl) made a more conventional film than I expected to see.
Our story begins in Brown Valley Wisconsin where the dignified Tim Lippe (Ed Helms) works lives and loves his former 7th Grade teacher (a dull Sigourney Weaver). When the top dog at the insurance company he works for dies it’s up to him to represent at a do-or-die insurance convention in Cedar Rapids Iowa a bustling metropolis compared to the small town he’s never left. Once there he befriends a pair of agents (Isaiah Whitlock Jr. and John C. Reilly) cavorts with another (Anne Heche) and parties with a local prostitute (Alia Shawkat). When it comes down to business however he learns quickly that the insurance racket isn’t the noble industry he once thought it was.
Though it has some heart the film doesn’t hit the funny bone like its trailer teased. The biggest laughs don’t come organically; instead Reilly’s crass Dean Ziegler (the best part of the movie) spews them from every orifice he exposes. Most of the other jokes are flat including the bulk of Helms’. Lippe’s naivety is all too reminiscent of Andy Bernard his beloved character on The Office and though you’d think that would be a good thing it just feels stale. Heche gives the best performance of all portraying a melancholy working mother who’s both vulnerable and independent but her character doesn’t have much effect on the narrative. The most fun comes via a series of supporting roles and cameo’s from the likes of Thomas Lennon Stephen Root Rob Corddry Kurtwood Smith and Mike O’Malley but none of them have enough screen time to leave a lasting impression.
Lack of humor aside the film suffers most from trying to tackle too many topics at once. Screenwriter Phil Johnston stuffs many themes into the 87-minute feature including the growth of the man-child (an indie cliché at this point) corporate corruption and separation of church and office but no single subject is developed enough to care about. Had the filmmakers stuck to their guns and delivered an all-out comedy be it conventional or quirky Cedar Rapids would be easier to endure.
WHAT IT’S ABOUT?
Writer/director Woody Allen chose to remain behind the camera for Whatever Works employing Larry David as his muse. The Curb Your Enthusiasm star plays a cranky pessimist who becomes the initially unwilling husband to a much MUCH younger Southern girl with a father fixation. But when her conservative mother arrives all hell breaks loose as Mom tries to drive her daughter away from the old guy and toward a much younger model. But New York City has a strange effect on everyone and soon everyone in this very disparate group learns the best things in life are really “whatever works.”
WHO’S IN IT?
Forgoing the umpteenth opportunity to play the May/December romance bit again Allen turns over the starring role to David in an inspired bit of casting about which it’s simply impossible to curb your enthusiasm. David given hilarious monologues that riff on life and border on a constant stream of doomsday analysis is perfect casting in Allen’s peculiar New York world. What’s most surprising is he actually creates a three-dimensional character we grow to care about even though the flow of one-liners rarely stops. As the super-conservative Southern yokel mother-in-law Patricia Clarkson is equally at home in Allen’s universe and takes the stereotypical role into unexpected places. As the innocent ex-beauty queen who bounces into David’s life Evan Rachel Wood practically channels a backwoods Tammy persona but somehow it works well enough for us to believe she could actually fall for such a cranky old man. Also of note is Ed Begley Jr.’s terrific turn as her pious father and estranged hubby of Clarkson who shows up near the end and defies all convention.
After a sojourn abroad first to England for his expert thriller Match Point and the less successful Scoop then to Spain for last year’s delightful Vicky Cristina Barcelona Allen returns triumphantly to his New York roots for the first time since 2004’s Melinda and Melinda. Despite the absence he hasn’t lost a beat when it comes to his very singular view of the Big Apple and its inhabitants. Casting David was the masterstroke that makes this one stand out as one of the prolific Allen’s (he turns out a film a year) most consistently amusing works in some time.
Whatever Works is very slight and feels more like one of the comedian’s New Yorker short stories than a fully fleshed-out motion picture. But when you’ve got this kind of sharp dialogue and these performers it’s hard to quibble about substance.
NETFLIX OR MULTIPLEX?
Whatever works for you but if you’re a Woody Allen or Larry David fan it’s a must wherever you see it.
Starting near the end of his short 24-year life and then told in flashback this film version of Christopher “Notorious B.I.G” Wallace’s (Jamal Woolard) rapid rise from the streets of Brooklyn to fame is told in standard-issue Hollywood biopic style. We see this Catholic honors student (played by his real life son Christopher Jordan Wallace) become a teenage drug dealer and accidental father before a chance recording finds its way to Sean “Puffy” Combs (Derek Luke) who engineers an almost immediate rise to fame fortune -- and trouble. “Biggie” now must juggle his newfound recording career a marriage to fellow artist Faith Evans (Antonique Smith) his romantic encounters with female rap comer L’il Kim (Naturi Naughton) and a major East Coast/West Coast rivalry with Tupac Shakur (Anthony Mackie) that leads to tragedy for both. As Wallace Brooklyn rapper Woolard is almost indistinguishable from the real man himself. He’s completely convincing performing B.I.G’s biggie hits and proves himself to be a first-rate dramatic actor as well -- at least in a story like this that he can clearly relate to. As his mother Angela Bassett makes the most of limited screen time (despite top billing) and expertly conveys the angst of a parent fighting a losing battle for her son. Luke again shows why he is so promising playing Puffy with just the right amount of flash and supreme confidence. Unfortunately the “balanced” portrait of Combs and many others in B.I.G’s life is tainted by the fact this film was produced by some of the real life players including his managers mother and executive producer Combs. George Tillman Jr. (Soul Food) directs this by-the-numbers account of Biggie’s life in a style we have seen countless times before. Except for a couple of occasions he doesn’t even let the rap sequences play out to give us an idea of how this guy whose songs reflected his rough Brooklyn lifestyle could climb to the top so fast. Whatever was special is lost in what appears to be a brazen attempt to sell soundtrack albums.