Since his days directing sketches for comedy troupe The State and his seminal debut feature Wet Hot American Summer David Wain has been expertly calculating ways to make his brand of absurdist humor work within the rigid conventional world of Hollywood movies. His latest Wanderlust is the perfect example of a hollow rom-com template that Wain fills to the brim with bizarre jokes and perfectly timed physical humor. His soldier of fortune is Paul Rudd who brings the golden ratio: looks of a leading man and a comedic gravitas that is unmatched. Rudd's at the top of his game whether he's landing a one-liner stretching his face to Jim Carrey-like proportions or reacting to his maniac co-stars the actor delivers—making Wanderlust charming deranged and very funny.
George (Rudd) and Linda (Jennifer Aniston better suited for this wacky comedy than you'd think) are a happily married couple living in New York attempting to live the dream lifestyle without any of the reality to fall back on. It doesn't work—George loses his job Linda fails to sell her documentary on penguin testicular cancer and the two find themselves forced to sell their "micro-loft" in the West Village and move in with George's brother in Atlanta. During their epic car ride George and Linda make a pit stop at a local Georgian B&B only to discover it's a counterculture commune home to an eclectic group determined to live on their own alternative terms. The inhabitants of "Elysium" range from nudists to tai chi experts to organic farmers but they all have one goal: live free. Realizing they don't have too much else going on in their lives (their alternative is shacking up with George's materialistic misogynistic businessman brother Rick played by the amazing Ken Marino) George and Linda dive head first into the off-beat world of Elysium.
Wanderlust dishes out its fair share of oddities when exploring the world of Elysium but isn't content in simply exploiting those quirks. Wain who co-wrote the script with Marino fleshes out the ensemble and makes keen choices so that no character is just a face in a crowd. Comedy pros like Justin Theroux Alan Alda Malin Akerman Joe Lo Truglio Kathryn Hahn Kerri Kenney Lauren Ambrose and more round out the cast and help color the world of Elysium piling laughs on top of laughs with every scene. Theroux stands out as Seth a spiritual leader for the group who begins to woo Linda away from George with his savvy guitar skills and potent herbal teas. Seth's slow and steady demeanor is a welcome change from the usual rapid-fire style seen in the modern comedy (the movie was produced by Judd Apatow so it wouldn't have been a surprise to see the approach replicated in Wanderlust) making us laugh in a zen fashion.
Meanwhile George just can't get anything right from group "truth circle" exercises to drinking coffee made of dirt to Elysium's "free love pact " which gives both he and his wife the chance to sexually explore outside of their relationship. The couple quickly realizes the freedom of their new home divides them and Wain's sensitivity to story and character evolve the relationship in a rather conventional yet desirable fashion.
Wanderlust falls somewhere between a Katherine Heigl romantic comedy vehicle and the pleasantly obscene work of Wain's past—and it may catch some off guard. The movie doesn't mind throwing in a bit of male nudity playing with abrasive repetition or those who find laughs in patience. The movie fully embraces the weird while never lettings its characters slip fully into caricature. Much like George and Linda's own dilemma Wanderlust wants to find harmony between the mainstream and the not-so-much. Thankfully it achieves inner peace.
Last year director Garry Marshall hit upon a devilishly canny approach to the romantic comedy. A more polished refinement of Hal Needham’s experimental Cannonball Run method it called for assembling a gaggle of famous faces from across the demographic spectrum and pairing them with a shallow day-in-the-life narrative packed with gobs of gooey sentiment. A cynical strategy to be sure but one that paid handsome dividends: Valentine’s Day earned over $56 million in its opening weekend surpassing even the rosiest of forecasts. Buoyed by the success Marshall and his screenwriter Katherine Fugate hastily retreated to the bowels of Hades to apply their lucrative formula to another holiday historically steeped in romantic significance and New Year’s Eve was born.
Set in Manhattan on the last day of the year New Year’s Eve crams together a dozen or so canned scenarios into one bloated barely coherent mass of cliches. As before Marshall’s recruited an impressive ensemble of minions to do his unholy bidding including Oscar winners Hilary Swank Halle Berry and Robert De Niro the latter luxuriating in a role that didn’t require him to get out of bed. High School Musical’s Zac Efron is paired up with ‘80s icon Michelle Pfeiffer – giving teenage girls and their fathers something to bond over – while Glee’s Lea Michele meets cute with a pajama-clad Ashton Kutcher. There’s Katherine Heigl in a familiar jilted-fiance role Sarah Jessica Parker as a fretful single mom and Chris “Ludacris” Bridges as the most laid-back cop in New York. Sofia Vergara and Hector Elizondo mine for cheap laughs with thick accents – his fake and hers real – and Jessica Biel and Josh Duhamel deftly mix beauty with blandness. Fans of awful music will delight in the sounds of Jon Bon Jovi straining against type to play a relevant pop musician.
The task of interweaving the various storylines is too great for Marshall and New Year’s Eve bears the distinct scent and stain of an editing-room bloodbath with plot holes so gaping that not even the brightest of celebrity smiles can obscure them. But that’s not the point – it never was. You should know better than to expect logic from a film that portrays 24-year-old Efron and 46-year-old Parker as brother-and-sister without bothering to explain how such an apparent scientific miracle might have come to pass. Marshall wagers that by the time the ball drops and the film’s last melodramatic sequence has ended prior transgressions will be absolved and moviegoers will be content to bask in New Year's Eve's artificial glow. The gambit worked for Valentine's Day; this time he may not be so fortunate.
Gee that long-haired multi-jointed dead Asian woman with a rather significant chip on her shoulder and her freaky white-faced meowing son sure do get around. Although hapless American student Karen (Sarah Michelle Gellar) tried to burn down the house to stop the ghost lady’s uncontrollable rage in the first Grudge it has apparently only gotten stronger in the second. Now just by mere association one can pick up the two very uninvited guests. Karen’s sister Aubrey (Amber Tamblyn) for example comes to Tokyo to see why her sis is in the hospital--only to see Karen fall from the roof in one big splat—and immediately gets caught up in the whole deal. Then there are some mean prep-school girls who take another girl to the house to play a prank and then they all get cursed. But one girl brings the curse back with her to the U.S. where it then infiltrates an entire apartment building. I mean for all I know I could be cursed for just watching this nonsense. Wait what’s that under my desk? No one really gets a chance to do much in Grudge 2. In fact the auditions probably went something like this: “Can you look wide-eyed haggard scared out of your mind with possibly a few tears streaming down? Perfect!” Gellar’s time is short onscreen leaving most of the heavy lifting to Tamblyn (TV’s Joan of Arcadia) who handles it as best she can. The actress isn’t a stranger to Japanese horror remakes either: If you remember she was the first victim to meet Samara the well girl in The Ring. Then there’s the crop of young stars in Grudge 2 including Arielle Kebbel (John Tucker Must Die) as the poor American teenager who inadvertently brings evil mom and son back with her to the U.S. Even Jennifer Beals (Showtime's The L Word) makes an appearance as one of the people living in the building affected by the curse. But she walks around looking like she has no idea why she made this movie. To be fair Grudge 2 isn’t a complete waste of time. Helmed once again by director Takashi Shimizu and based on the popular Japanese Ju-On series Grudge 2 does have plenty of creepy moments. Let’s just say you might think twice about looking in a closet drinking milk from the container or picking hair out of the drain. Yuck. But Grudge 2 unfortunately suffers the same fate as The Ring Two: The element of surprise is gone and the filmmakers haven’t invented anything more compelling to replace it. What’s left then is just the curse itself--and all the guttural sounds black-rimmed eyes and popping up out of nowhere gets old pretty darn quick especially when there is hardly anyone left to root for. Still it looks like they might be setting up for a Grudge 3--that is if the box office numbers hold this time around.
Weinstein might ditch Disney
Walt Disney Co. and its Miramax Films unit, which is run by Harvey and Bob Weinstein, are expected to meet this week to discuss letting Harvey Weinstein start a production company, while his brother would remain at Disney to make movies, Reuters reports. In a recent New York Times article, Reuters reports the newspaper cites several unidentified people involved in the talks, who say the agreement being negotiated would give Bob Weinstein a four-year contract with Disney, including a small staff and a $300 million to $350 million annual budget to make four to six movies under his Dimension Films banner. Harvey Weinstein would then become an independent producer, who would secure financing for movies to be distributed by Bob Weinstein, the Times article continued. Disney might also license the Miramax name back to Harvey Weinstein, but only for movie projects. Sources told the Times that the two sides still have big issues to work out, but the progress shows that both sides recognize the importance of maintaining a successful relationship and would like to reach an agreement before Disney's fiscal year starts on Oct. 1.
Overdose cited as cause of Douglas death
The death of Eric Douglas, the youngest son of Oscar-winning actor Kirk Douglas and brother to Oscar-winning actor Michael Douglas, was caused by an accidental overdose of alcohol and prescription tranquilizers and pain killers, authorities told AP. Douglas, 46, was found dead inside a Manhattan apartment building July 6. Eric Douglas had a history of substance abuse and had spent time in jail and rehab clinics.
Lawsuit brewing over Shyamalan's Village
Publishing giant Simon & Schuster Inc. is reviewing its legal options against The Walt Disney Co. and writer-director M. Night Shyamalan over similarities between a children's book they published and the film The Village, a spokeswoman for the publisher told AP Monday. Apparently, the film's plot and surprise ending parallel Margaret Peterson Haddix's first book, Running Out of Time, published in 1995, in which adults living in a bucolic 19th century town keep the same secret from their children, and a plucky tomboy journeys through dangerous woods to get medicine. Haddix said she optioned the book twice--once to Viacom Inc.-owned Nickelodeon, which allowed the option to expire in May 2003 without making a film. She saw The Village last week but declined to discuss her opinion of the film. "Let's just say that I saw the same similarities that other people have pointed out," she told AP. "It's certainly an interesting situation," Haddix said. "I'm just examining what my options are." In a statement, Disney and Shyamalan's Blinding Edge Pictures said they "believe these claims to be meritless," AP reports.
Rick James' funeral to take place in Los Angeles
Funeral services have been announced for Rick James, who was found dead Friday of unknown causes. A public viewing will be held Wednesday at Forest Lawn Memorial Park in Hollywood Hills, Calif., and a memorial service will be held there Thursday. "Rick wanted everyone who loved him to be with him at the end and to celebrate his life," Sujata Murthy, his record label Universal's spokeswoman, told The Associated Press.
Recent death, health problems plague musicians
Tony Mottola, 86, a guitarist who played with Frank Sinatra and on NBC's The Tonight Show over the course of a 50-year career, died Monday of complications from double pneumonia and stroke. Meanwhile, William Lee Golden of The Oak Ridge Boys is recovering from a mild heart attack, the group's publicist told AP. Golden, 65, was traveling with the country group Saturday near Wausau, Wis., when he fell ill and checked into an area hospital, publicist Sandy Brokaw said Monday. The singer is expected to make a full recovery in four to six weeks, Brokaw told AP. Same goes for former Eagles bassist Randy Meisner, 58, who co-wrote and sang the rock group's classic "Take It to the Limit." He was hospitalized Friday for chest pains, his manager said but is now "resting comfortably" and "not experiencing any pain." Then there's soul veteran Ronald Isley, the lead singer with the Isley Brothers, who suffered a minor stroke but hopes to resume performing as soon as possible, a spokeswoman for his record label told AP. Isley, 63, felt unwell while walking along a street in London last Friday, checked into a local hospital for a few days, and has since returned to his home in St. Louis, Mo., said the spokeswoman.
The vampire Lestat de Lioncourt (Stuart Townsend) wakes from a hundred-year sleep to the rock 'n' roll present day and likes what he sees and hears. Tired of the vampire's solitary life he becomes the frontman for an unknown rock band and transforms it into the latest greatest thing gaining the adulation of millions. He also decides to disregard the unspoken rule that vampires must hide away from the rest of world and writes songs encoded with specifics of the secret life of vampires. As expected Lestat's lyrics draw the attention of both the bloodsuckers who want to destroy him and the human vampire scholars (called the Talamasca) who want to study him. One young Talamascan student Jesse Reeves (Marguerite Moreau) becomes obsessed with Lestat after reading his journal from the 1800s. She learns that Lestat had a brief encounter with Queen Akasha (Aaliyah) the most ancient and dangerous vampire to ever exist and the mother of all who walk the Earth in search of blood. He gets his chance to meet Akasha again when his music awakens her from an ancient slumber. She rises and seeks out Lestat to become her king and join her in ruling the world.
The film truly belongs to Townsend and fans of the Anne Rice's novels will be happy to know he completely embodies the charismatic vampire Lestat. The little-known Irish actor who starred in last year's indie About Adam with Kate Hudson rules the screen whenever he is on it and luckily he's on it quite a lot. He's especially powerful when he is in rock star mode. Although Moreau's Jesse is fairly one dimensional she comes alive in her scenes with Townsend. Let's hope they keep asking him to play Lestat (when and if they make any more films from Rice's vampire novels) and next time give him an actress he can have some real chemistry with. The late R&B singer Aaliyah made her second film appearance in Damned as the queen. Even though she is only in the film a short time she possesses a certain charm as the ancient and evil Queen Akasha and makes a great first impression by destroying a vampire coven. Yet her acting skills are just not up to par with the rest of the cast including the charismatic Vincent Perez as the vampire Marius and Lena Olin as the kind-hearted vampire Maharet.
Damned was set to be released in the fall of last year but word of mouth had the film destined for the video shelf before it even made it to the big screen. Then tragedy struck and as the news of Aaliyah's untimely death echoed throughout the world of entertainment Warner Bros. wisely decided to hold onto it and release it in theaters at a more favorable time knowing there would be an audience who'd want to see the singer's last film. Yet for all the bad press surrounding it Damned actually pleasantly surprises you due largely in part to Townsend's mesmerizing performance. Michael Rymer's direction is not a masterpiece of filmmaking by any stretch of the imagination but it has a certain MTV quality about it which makes it appealing. That same quality however also makes it too slick glossing over the meatier parts of Rice's novel making the dialogue and action trite and sometimes downright silly. Come to think of it the 1994 Interview With the Vampire also suffered from the same thing. Maybe translating Rice's words is harder than it looks.