In just about every one of Kevin Hart's scenes in Ride Along, there's a joke that is just aching to find its way out of the diminutive, rascally comic actor. Hart is a small-scale physical comedian — of the same ilk as Jack Black — who puts nuclear-degree energy into his facial contortions, anatomical outbursts, and the delivery of every gag in general. If only he had material that was crafted with the same energy.
Unfortunately, nothing else about Ride Along seems at all "hard at work." Not the script, which pads a lifeless story with lazy comedy, and certainly not his screen partner Ice Cube, whose only stage direction seems to be "frown, and be taller than Kevin Hart." So lifeless is Ice Cube that even his machismo-obsessed straight man bit doesn't really work. Instead of the virile and intimidating "bad cop," he comes off as a disapproving middle aged dad without much to show for his own life.
But the script pairs the wily, overzealous high school security guard and video game junkie Ben (Hart) with no-nonsense lawman James (Ice Cube) on the titular ride along, with the scrappy cop-wannabe hoping to prove to the force veteran that he's good enough to marry the latter's younger sister. In earnest, he's not. Ben never puts any respectable effort into learning the tools of the trade, insisting on employing his amateur style and controlling the radio despite his proclamations that he wants, and deserves, James' trust. And James is no saint either — he's irresponsible on crime scenes, violent with perps, and disgruntled to the point of being unable to work with anybody else on the force. These are not good police officers... of course, you'll say, this is a comedy. But where are the laughs, then?
They're not absent entirely, you just have to look for them. In a movie so focused with big, broad humor, it's the smaller comedy that actually lands best. Hart's background mutterings and fumblings, his emoticon-laden texts to girlfriend Angela (Tika Sumpter, whose only stage direction seems to be "smile, and never wear a full outfit of clothing"), and a bizarre repetition of the word "weird" from supporting player John Leguizamo. All good for unexpected chuckles, while jokes like Hart facing off with a pre-teen or being blown backwards into a brick wall after firing a large gun are all lazy, familiar, and flat.
Structurally, the script is a mess. Ride Along spends far too much time on set up — we get it, Hart and his soon-to-be-brother-in-law Ice Cube don't get along — and far too much time on wrap-up — there's a gigantic, dramatic warehouse shootout that, in any other movie, would be the climax, but there's plenty more to go after that — without any cohesive middle to make the movie feel like... a movie.
The best player in the World for movie trailers, Hollywood interviews and movie clips.
Hart, who leaps at every comic opportunity like a kangaroo (wallaby would be more appropriate), is suited just right for a buddy cop comedy, but he needs something fresh with which to work — a real character, an interesting story, actually funny jokes. Even just one of these would be fine!
Follow @Michael Arbeiter
| Follow @Hollywood_com
A kids’ movie without the cheeky jokes for adults is like a big juicy BLT without the B… or the T. Madagascar 3: Europe’s Most Wanted may have a title that sounds like it was made up in a cartoon sequel laboratory but when it comes to serving up laughs just think of the film as a BLT with enough extra bacon to satisfy even the wildest of animals — or even a parent with a gaggle of tots in tow. Yes even with that whole "Afro Circus" nonsense.
It’s not often that we find exhaustively franchised films like the Madagascar set that still work after almost seven years. Despite being spun off into TV shows and Christmas specials in addition to its big screen adventures the series has not only maintained its momentum it has maintained the part we were pleasantly surprised by the first time around: great jokes.
In this third installment of the series – the trilogy-maker if you will – directing duo Eric Darnell and Tom McGrath add Conrad Vernon (director Monsters Vs. Aliens) to the helm as our trusty gang swings back into action. Alex the lion (Ben Stiller) Marty the zebra (Chris Rock) Gloria the hippo (Jada Pinkett Smith) and Melman the giraffe (David Schwimmer) are stuck in Africa after the hullaballoo of Madagascar 2 and they’ll do anything to get back to their beloved New York. Just a hop skip and a jump away in Monte Carlo the penguins are doing their usual greedy schtick but the zoo animals catch up with them just in time to catch the eye of the sinister animal control stickler Captain Dubois (Frances McDormand). And just like that the practically super human captain is chasing them through Monte Carlo and the rest of Europe in hopes of planting Alex’s perfectly coifed lion head on her wall of prized animals.
Luckily for pint-sized viewers Dubois’ terrifying presence is balanced out by her sheer inhuman strength uncanny guiles and Stretch Armstrong flexibility (ah the wonder of cartoons) as well as Alex’s escape plan: the New Yorkers run away with the European circus. While Dubois’ terrifying Doberman-like presence looms over the entire film a sense of levity (which is a word the kiddies might learn from Stiller’s eloquent lion) comes from the plan for salvation in which the circus animals and the zoo animals band together to revamp the circus and catch the eye of a big-time American agent. Sure the pacing throughout the first act is practically nonexistent running like a stampede through the jungle but by the time we're palling around under the big top the film finds its footing.
The visual splendor of the film (and man is there a champion size serving of it) the magnificent danger and suspense is enhanced to great effect by the addition of 3D technology – and not once is there a gratuitous beverage or desperate Crocodile Dundee knife waved in our faces to prove its worth. The caveat is that the soundtrack employs a certain infectious Katy Perry ditty at the height of the 3D spectacular so parents get ready to hear that on repeat until the leaves turn yellow.
But visual delights and adventurous zoo animals aside Madagascar 3’s real strength is in its script. With the addition of Noah Baumbach (Greenberg The Squid and the Whale) to the screenwriting team the script is infused with a heightened level of almost sarcastic gravitas – a welcome addition to the characteristically adult-friendly reference-heavy humor of the other Madagascar films. To bring the script to life Paramount enlisted three more than able actors: Vitaly the Siberian tiger (Bryan Cranston) Gia the Leopard (Jessica Chastain) and Stefano the Italian Sealion (Martin Short). With all three actors draped in European accents it might take viewers a minute to realize that the cantankerous tiger is one and the same as the man who plays an Albuquerque drug lord on Breaking Bad but that makes it that much sweeter to hear him utter slant-curse words like “Bolshevik” with his usual gusto.
Between the laughs the terror of McDormand’s Captain Dubois and the breathtaking virtual European tour the Zoosters’ accidental vacation is one worth taking. Madagascar 3 is by no means an insta-classic but it’s a perfectly suited for your Summer-at-the-movies oasis.
In a blanketed statement Luke Greenfield’s Something Borrowed attempts to explore lifelong friendships and the circumstances responsible for their ends. It’s billed as a romantic comedy which would be true if one choreographed dance to Salt N Pepa’s “Push It” and one instance where someone breaks their nose during a game of backgammon were the genre’s qualifiers. But deeper than that lies a message along the lines of “never defer to others ” or even one that’s more like “never give other people the opportunity to take what’s yours because they will.” However those morals get so completely muddled along the way that ultimately the film is downgraded to a chronicle of two best friends in love with the same man.
The film is told from the point of view of Rachel (Ginnifer Goodwin) who’s described as a successful lawyer at a top law firm (so “top ” in fact it’s never named). She is single mostly keeps to herself and is preoccupied with other people’s happiness but is lucky enough to have a very good friend in Darcy (Kate Hudson) who never misses a chance to talk about herself or steal the attention of an entire party by showing up in a pink boa. We learn Rachel and Darcy's friendship spans decades through a slide show that Darcy puts together for Rachel’s “surprise” 30th birthday party and during Darcy's toast to her best friend she talks about how excited she is to marry Dex (Colin Egglesfield) and how thankful she is to Rachel for introducing the two of them. However the truth is Rachel didn’t introduce them – what really happened was Darcy crashed Rachel and Dex’s date that was in honor of all the hard work they did together to prepare for a law school test. Rachel is saddened by the combination of turning 30 and listening to Darcy's excitement over her upcoming marriage to a man she doesn't deserve and after seeing the birthday girl's pout Dex suggests the fellow lawyers go get another drink together. Rachel casually admits to Dex that she’s had a crush on him since law school (which he claims to have never known) and during a shared cab ride to their separate apartments Dex kisses Rachel because it turns out he has had feelings for her all this time too. Thus begins the affair between Dex and Rachel even though Dex’s wedding to Darcy is only weeks away. Eventually Dex and Rachel both realize they love each other and Dex has to make a decision as to which woman is right for him.
Because the story is told from Rachel The Downtrodden's POV the filmmakers attempted to make Darcy the villain as she’s the opposite of Rachel and is someone who gets everything she wants without having to put forth any effort. In actuality Darcy is pretty easy to despise because she always talks about how she’s good-looking and the only obligations she has are towards partying and making incessant demands to Rachel about her wedding to a man she only halfheartedly loves. I suspect Greenfield decided to highlight the tremendous differences between Darcy and Rachel so as to emphasize the fervor and resilience of their bond (which would in turn make the affair between Rachel and Dex a bigger and more dangerous conflict). But it ends up being a disservice to the overall project because the characters themselves are so fundamentally flawed. The notion that one woman would WILLINGLY endure such bullying from someone who’s supposed to be her best friend is terribly unrealistic and so because the movie virtually revolves around this dysfunctional friendship between these two women means everything is painful to watch. There’s even a point where Rachel’s character becomes as unlikeable as Darcy in the way her utter obedience to Darcy makes her weak-minded a terrible heroine and essentially not worthy of our respect either. And what kind of a romantic comedy has us trying to figure out which woman we hate the most? (Exactly.)
John Krasinski saves the movie from being intolerable. He plays Ethan Rachel’s other best friend and (unlike Darcy) he genuinely cares about Rachel’s well-being. Rachel confides in him and he offers her advice and encouragement and Ethan does not like Darcy at all because he sees the way she treats Rachel and the way Rachel’s life halts every time Darcy has a demand. But his character is way more important than it appears to be because he’s the one who points out that both Rachel AND Darcy are flawed characters and he validates the audience’s disgust with both women. He does this by openly criticizing Darcy’s narcissism (which the audience notices within the first few minutes of the film) and also makes Rachel aware of how pathetic it is that she’s been at Darcy’s beck and call for 30 years. Ethan is arguably the only sane character in this movie and strategically he functions as its voice of reason. Even though Krasinski does not play a main character he’s so responsible for the humor that he is a true delight. Ginnifer Goodwin also does an excellent job playing the character who thinks she’s too ugly to ever get a handsome husband and Kate Hudson also deserves some recognition for embodying someone so self-righteous.
It's hard to criticize producers or a studio about what's wrong with a movie that was originally a book because neither the producers nor the studio are responsible for the story's fundamentals -- the author is. At the same time it’s impossible to hold an author responsible for how well his or her book was adapted into a film. That means both the filmmaker and the author must share credit for Something Borrowed but I have a feeling that in a few years neither party will want any.
Easy A a teen sex comedy with no actual sex aims rather conspicuously to plumb the best bits of Diablo Cody and Alexander Payne in its upside-down self-consciously campy take on Nathaniel Hawthorne’s The Scarlet Letter. In the role of its high-school Hester Prynne is Emma Stone the sly husky heroine of last year’s surprise hit Zombieland. Tested by a film that is far less clever than its director Will Gluck or screenwriter Bert Royal would have us believe (and they desperately want us to believe) she passes with flying colors delivering a performance that should elevate her into the upper echelon of actresses possessing brains and beauty in equal measure.
Stone plays Olive the kind of quick-witted hyper-literate teen that our educational system produces in ever-diminishing numbers. (If it ever produced them to begin with.) More knowing and sophisticated than others her age she is nonetheless not immune to the pressure of peers and the dread of being labeled a loser. Under duress by a prying friend (Aly Michalka) to dish the details of her birthday weekend a rather mundane affair mainly spent jumping on her bed to the tune of Natasha Bedingfield’s pop monstrosity “Pocket Full of Sunshine ” she feels compelled to embellish a bit and concocts an entirely fictional account of losing her virginity (dubbed the “V-Card” by Royal trying too hard) to a boy from a junior college across town.
Word of Olive’s deflowering spreads with startling speed aided by the incessant rumor-mongering of a catty Evangelical eavesdropper (Amanda Bynes). Suddenly branded a tramp on account of a seemingly harmless little lie Olive opts to embrace her newly tarnished reputation and put it to good use. In a viciously stratified social environment where even the most awkward acne-plagued pariah can earn respect and even admiration from members of the upper castes for having gone All the Way Olive anoints herself the Mother Theresa of (fake) sluts bestowing her blessing upon downtrodden gents in need of a reputation boost. And she resolves to look the part too traipsing around in scandalous bustiers and affixing the letter “A” to her chest.
There are limits to Easy A’s Scarlet Letter conceit overly Glee-ful tone forced repartee and pop-culture references (John Hughes is invoked so many times he should get a producer credit). Which is why director Gluck must be grateful to have found Stone who handles the verbal calisthenics of Royal’s script with charm and verve and a certain effortless appeal that keeps us engaged even as the film wallows in contrived irony and heavy-handedness. Keep your eye on her.
Spanning from WWI to the 21st century Eric Roth’s screenplay (based loosely on a 1922 short story by F. Scott Fitzgerald) tells the unique story of a man named Benjamin Button (Brad Pitt). He is born in New Orleans as a very old baby the equivalent of a man in his 80s who then ages backward into youth over the better part of a century. The film is told in flashback by a very old dying woman Daisy (Cate Blanchett) who recounts her tale to her daughter (Julia Ormond) from a hospital bed during Hurricane Katrina. Left on the doorstep of a retirement home one night by his father (Jason Flemyng) Benjamin is brought up by Queenie (Taraji P. Henson) who runs the place. While there he meets a young girl Daisy who will become a key figure -- romantically and otherwise -- in his life. Ben does have some grand adventures: He goes to work on a boat sees sea battles during WWII finds love with an older married woman (Tilda Swinton) -- and gets progressively younger as the decades fly by. It all manages to be alternately haunting romantic funny epic emotional and incredibly moving and will likely to stay with you a lifetime. Brad Pitt manages to deliver a thoughtful and subtle performance through all the special effects makeup and CGI. He does so much just by using his eyes. Cate Blanchett is equally fine as she plays Daisy from a teenager to an old woman and matches Pitt in bringing an entire lifetime skillfully to light. Her aging makeup is completely natural and she’s very moving in the hospital scenes opposite Ormond. Henson is just marvelous as Queenie a warm and understanding soul. Swinton is elegant and memorable in her few crucial encounters with Ben and plays beautifully off Pitt. Jared Harris (TV’s The Riches) as the colorful Captain Mike who hires Ben on his tug boat and Flemyng (The League of Extraordinary Gentlemen) as Ben’s father are also effective in their brief screen time. Interestingly Benjamin Button has been gestating for decades in the Hollywood firmament but needed time for the proper technology to catch up to it. Director David Fincher (Zodiac Fight Club) with his early background at George Lucas’ ILM proves to be the perfect choice to marry a compelling story with spectacular visual effects achievement. He did not want to do the film unless the technology allowed one actor to play the role throughout the course of the film. Remarkably they were able to achieve this superimposing Brad Pitt’s face and eyes into all the incarnations of Ben Button. In one sequence Pitt looks just like he did in Thelma and Louise. It’s an amazing feat. He has seamlessly created a unique universe without ever bringing attention to it advancing the art of screen storytelling leaps and bounds ahead of everything else that has come before. Benjamin Button is a plaintive and provocative meditation of life death and what we do while we are here. It’s the stuff of dreams.