Take Me Home Tonight directed by Michael Dowse is a comedy about the ‘80s but its futility is timeless: In just about any decade it would be considered generic and unfunny. Set in 1988 it stars the likable and witty Topher Grace as Matt a recent MIT grad with a crippling case of post-college career-indecision. Working as a lowly clerk at a video store he has a chance encounter with his high-school crush Tori (Teresa Palmer) who to his (and our) surprise actually displays faint interest in him. But Matt fails to pull the trigger and so he resolves to make up for his lack of cojones when he sees her later that evening at a party hosted by the preppy douchebag boyfriend (Chris Pratt) of his twin sister Wendy (Anna Faris).
This sets the stage for an eventual romantic union between Matt and Tori; until then there is insecurity to overcome and wacky adventures to be had. Many of the latter stem from the increasingly unhinged behavior of Matt’s best friend Barry (Dan Fogler). The film turns on a bag of cocaine Barry finds in the glove compartment of a Mercedes stolen from the dealership that fired him earlier in the day. Cocaine is renowned for its ability to induce euphoria in even the most mundane of settings but it has arguably the opposite effect on Take Me Home Tonight. I consider Fogler to be a legitimately funny guy but he has the irritating tendency to compensate for underwritten material by wildly overacting. Throw in a bag of blow and that tendency is amplified ten-fold.
A happy standout in the film is Palmer who brings a liveliness and dignity to the stereotypical rom-com role of the Otherworldly Hottie Who Inexplicably Falls for the Stammering Schlub. (It also helps that she's the only member of the main cast who is young enough to realistically portray a recent college graduate.) She is one of the more talented young Australian exports to arrive on our shores in quite some time and has the potential to become a saucier version of fellow Aussie Nicole Kidman. That is if she finds material better than Take Me Home Tonight.
The Switch is being touted for its on-screen pairing of “longtime friends” Jason Bateman and Jennifer Aniston. Which is odd because I found their scenes together in Josh Gordon and Will Speck’s romantic comedy about a 40-year-old single woman who sires a son artificialy with sperm that unbeknownst to her came from the loins her best friend to be its weakest aspect. Bateman whose improvisational wit is widely heralded appears tentative and deferential in the presence of Aniston as if he’s wary of going all-out for fear of eclipsing his co-star who also happens to be an executive producer on the film.
Their strained comic rapport makes for a flat and largely unfunny first act in which it is explained how Wally (Bateman) a cranky neurotic investment banker inadvertently impregnates his baby-mad best friend Kassie (Aniston). The whole contrived episode culminates during an “insemination party ” a peculiar New York City cougar ritual presided over by Kassie’s new-age pal Debbie (Juliette Lewis) wherein Wally drunkenly substitutes his semen for that of the Nordic Adonis (Patrick Wilson) originally designated for the job.
But just when The Switch’s foreboding intro has us steeling ourselves for 90 more minutes of high-concept rom-com pabulum the film pull a dirty trick: Its story fast-forwards seven years during which Kassie returns to her native Minnesota gives birth to a son named Sebastian and is lured back to present-day New York six-year-old Sebastian (Thomas Robinson) in tow by an irresistible job offer. It’s a shamelessly manipulative ploy bringing in the adorable pint-sized ringer off the bench but it turns out to be a welcome one breathing much-needed life into The Switch’s moribund proceedings.
Sebastian is truly a miniature version of his father whom he knows only as “Uncle” Wally with all of his intelligence and neuroses but none of the weary cynicism that adulthood inevitably breeds in such types. Bateman is clearly more comfortable — and a lot funnier — around Robinson and The Switch’s most memorable moments are found in the bond they develop.
But alas The Switch is a rom-com and so space must be allotted for the less appealing “rom” portion of its story. Kassie spends the bulk of the film believing that the Nordic Adonis is Sebastian’s true father despite the fact that he bears no resemblance to him whatsoever and when Wally finally confesses to his sperm-swapping she goes predictably ballistic renouncing him entirely. But the two are destined to be together so we are told and their estrangement is a brief one — lasting only a somber montage or two. When they’re inevitably united (if you consider this a spoiler you are beyond hope) we’re happy about it if only because no child should be forced to grow up with Jennifer Aniston as a single mother.
WHAT IT’S ABOUT?
Christine has a doting boyfriend a good job and much promise until she refuses to extend the overdue home loan of Mrs. Ganush a strange one-eyed Gypsy woman who literally begs to keep her residence of 30 years. The ambitious Christine doesn’t budge and the woman unleashes the horrendous curse of the Lamia on the unsuspecting banker turning her life into hell on Earth. When she goes to a psychic to reverse the curse her entire existence is turned upside down becoming a living nightmare with no light at the end of a very dark tunnel.
WHO’S IN IT?
As Christine Alison Lohman gets to chew the scenery like there’s no tomorrow. Living an actor’s dream Lohman gets under the skin of this wickedly cursed girl and gives it her all in one harrowing sequence after another. Justin Long has the standard thankless role of her understanding but perplexed and confused boyfriend. Playing it straight he basically stands on the sidelines watching his girlfriend go slowly mad. As Christine’s boss David Paymer is all business while Dileep Rao as the all-knowing seer Christine turns to in her most dire time of need is quite effective in a handful of scenes. Stealing the show lock stock and barrel though is unquestionably the veteran TV character actress Lorna Raver who is aptly named Mrs. Ganush she is stark-raving mad. The character is blissfully over-the-top (and then some) and Raver under mounds of scary-as-hell makeup hits it out of the park.
Returning to his celebrated roots in horror Spider-Man director Sam Raimi (The Evil Dead) is clearly in his comfort zone as he delivers one of the best examples of the genre seen in many years. Although some CGI trickery and puppetry is employed to full effect Raimi manages to get his best jolts with expert use of camera angles creeping shadows blowing wind strong visual flourishes amped up sound effects and a brilliantly vivid musical score from Christopher Young. Raimi shows today’s purveyors of “torture porn” you don’t need graphic violence to scare the crap out of an audience — just talent. Hitchcock would have approved.
The PG-13 rating probably forced Raimi’s hand in turning on the juice and REALLY dragging us through hell in a couple of scenes so we’re hoping there’s an uncut DVD special edition coming along eventually.
There are many to choose from including a classic dinner scene with the boyfriend’s parents but for pure intensity the initial bank and parking garage encounter between Lohman and Raver has lots of teeth (so to speak) and is still sending chills down our spine. Also the creepy use of a "nosey" fly pays dividends through the entire film for the ultimate audience freakout.
NETFLIX OR MULTIPLEX?
Drag yourself to a multiplex. A fright flick that is this much fun deserves to be seen in a packed theater.
On the surface Kevin Smith has crafted a clever concept a ragtag group attempts to make a porno film in order to get some quick cash. The underlying story is the platonic relationship between roommates Zack (Seth Rogen) and Miri (Elizabeth Banks) whose friendship goes to a whole new level once they find themselves out of cash and decide to cast themselves in their own triple XXX film. After meeting a gay adult film actor at a party Zack comes up with the get-rich quick idea to make a porn movie enlisting Miri’s help and convincing her that it will not affect their friendship. They set about casting the rest of the film with a disparate group of participants including the very self confident sex maniac Lester (Jason Mewes) superstud Barry (Ricky Mabe) gorgeous blonde bombshell Stacey (adult film icon Katie Morgan) and daring kinky Bubbles (legendary Traci Lords). What seemed like a simple proposition turns complicated when Zack and Miri in the heat of simulated lovemaking and in front of the whole crew discover they may be more than just friends. Even considering his great work in Knocked Up Zack is Rogen’s most accomplished character to date a lovable loser who uses last-ditch initiative to turn his life around and in the process discovers more than he ever bargained for. Chemistry is a tricky thing but Rogen certainly has it in spades with co-star Banks who takes what could have been a broadly sketched role and turns Miri into a three-dimensional woman who doesn’t even realize her true soul mate may be right under her nose --literally. You root for these two all the way. The wonderful supporting cast is unique to say the least including adult film star Katie Morgan making her mainstream debut as the ditzy Stacey. After some 200 “real” XXX films she graduates to the big leagues in style and shows she may have a future outside of her niche. Lords who made that leap some time ago niftily sends up her own former image and shows fine comic chops and a willingness to dress deliciously inappropriately. As for the guys Mabe is very funny but Jason Mewes (Jay of Jay and Silent Bob) lets loose with a hilarious and totally uninhibited portrayal of a sex addicted tattooed dude willing and able to do anything on camera. Also nearly stealing the show is The Office’s Craig Robinson a married crew member who is excited to help out buddy Zack because he wants to see “titties.” And in extended cameos Justin Long as a gay porn star and Superman Brandon Routh have a great time sending up their straight movie images playing bickering boyfriends. Kevin Smith has always gone for the jugular challenging the ratings boards and pushing the envelope in his films ever since the classic “dirty movie” Clerks made him famous. But not since his early films such as Chasing Amy has he showed such style and maturity as a filmmaker as he does in Zack and Miri his most outrageously hilarious and accomplished movie to date. Yes he does continue going for shock value (there’s a laugh-out-loud moment involving a certain bodily function natch) but his story is grounded in reality recognizably human and engaging. He milks this genius comic premise for all its worth but gives it an extra dimension that makes it different unexpected and finally memorable. Mostly though it’s just plain fun.