It's not that Movie 43 is shocking or "edgy " or whatever any of the writers or directors would like to convince you. If you want to actually puke or cry or be shocked you can go to Rotten.com like the rest of us Internet miscreants. The Cinema of Transgression films by Nick Zedd and Richard Kern have more artistic value than Movie 43 and are generally more interesting. Which is saying a lot because Zedd's films can get pretty boring. You can only see Annie Sprinkle make out with a man who's listed as Ray the Burn Victim for so long... although I feel terrible for writing because everyone needs love. Sorry Ray.
Movie 43 has 12 directors and 17 writers credited with this anthology of shorts modeled according to producers Peter Farrelly and Charlie Wessler in the spirit of Kentucky Fried Movie. Surprisingly none of those writers or directors go by the name Alan Smithee. It's not even totally clear which were written and directed by whom; the production notes are "hilarious first hand [sic] accounts from those who were a part of and were witnesses to the creation of MOVIE 43."
Kate Winslet and Halle Berry and Richard Gere were tricked into participating which is supposed to make their "outrageous" shorts all the more titillating. One of the larger problems of Movie 43 is that it relies on this handful of mega-stars and on our reactions to them and their off-screen personas all in lieu of genuine comedy onscreen. Would it be funny if some schmuck on YouTube played a Steve Jobs-like character who didn't understand why his company's iBabe music player — which looks like a naked woman but has a coolant system with a fan between its legs — was mangling users? No it wouldn't. And it's definitely not any funnier because it's Richard Gere playing him.
What's most offensive about Movie 43 isn't the scatological humor but how shoddily the whole thing was put together. (To be honest I did nearly walk out during the Anna Faris/Chris Pratt short about her desire to be pooped on. I also nearly barfed during Salo. Because poop.) In quite a few of the shorts half of the actors' heads are cut out of frame. Their heads are literally cut off of the screen in a movie that was professionally filmed by accredited cinematographers. Now it could have been the theater projecting the film that was having the problem but that's not really my concern. My concern was mainly that a handful of paying customers (including myself) were sitting through a studio movie where the top of actors' heads aren't in frame.
The self-referential wraparound for the movie is embarrassing for everyone involved including the viewer. Dennis Quaid plays a disheveled crazy writer who holds a studio exec (Greg Kinnear) hostage until the exec agrees to buy his movie pitch. His pitch is the series of shorts which the exec obviously thinks is a terrible idea... because it is. This is like adding insult to injury because the creators know what they've made is crap. Even the studio exec that they themselves wrote thinks the premise of Movie 43 is crap and has to be held at gunpoint to bring the idea to his boss. This idea that you will have wasted 90 minutes of your life on — minutes you could have spent watching YouTube videos of people squeezing their own cysts or having botflies removed from their bodies or yes making out with burn victims.
Complain all you like about stodgy critics who have no sense of humor and don't get "the kids" today and all that but it seems that Peter Farrelly and the group of people who forced this towards theaters (with little to no help from most of the stars or writers or directors) are the ones who are completely out of touch. With anything. Including humor.'s>
Jesse Eisenberg, star of Ruben Fleischer’s Zombieland, will be working with the director again this summer in the comedy 30 Minutes Or Less, to begin production in July. Eisenberg will co-star alongside Aziz Ansari as two friends, a slacker pizza deliveryman and a junior high school teacher, who are coerced into robbing a bank when two bad guys, played by Danny McBride and Nick Swardson, force Eisenberg to wear a bomb.
The script is the work of two relative unknowns, Michael Diliberti and Matthew Sullivan, but veteran comedy producer Ben Stiller has signed on to the project, along with Stuart Cornfield and Jeremy Kramer of Red Hour Productions. Fleisher reportedly chose to direct '30 Minutes or Less' over the fourth installment of Mission Impossible, so we can only hope that the script, which The Playlist is reporting is reminiscent of 2008's Pineapple Express, must be pretty good - the kind of paycheck that a franchise flick guarantees is formidable.
It will be interesting to see whether Eisenberg breaks out of the nebbishy, neurotic mold that he has fashioned for himself with recent roles in Adventureland and Zombieland, or if he continues to play the sophisticate's Jewish Michael Cera. Either way, an Eisenberg - Ansari pairing, plus the comic stylings of Danny McBride, sounds like potential comedy gold.
Source: THR, The Playlist
Luke (Steven Strait) and Brier (Pell James) first cross paths on a New York City subway before the doors shut on their instant attraction to one another. Of course it is immediately and abundantly clear that they will naturally meet up again before long but where and how? The answers: L.A. and well it's complicated. Each having forgotten about the other Brier a top model in NYC decides she needs a change of scenery and tells her agent (Carrie Fisher clearly in it for the paycheck) she's heading out to L.A. to pursue acting while Luke and his brother Euan (Kip Pardue) decide to move to the West Coast as well. Once there Brier befriends Clea (Ashlee Simpson) and on her first night in town takes Brier to a local dive bar where Luke works as a struggling "musician." Wow that's some coincidence. There is an instant re-connection between Luke and Brier but she refuses to get involved with musicians since her rock-star ex mistreated her. Instead she shifts her focus on generating buzz for Luke. Eventually Luke gets the big recording contract becomes the rock-star jerk he'd swore he'd never become and loses it all. But all is well when Brier decides she can no longer resist Luke's ballads and Metallica-guitarist-circa-'85 hair.
The theme of Undiscovered could apply to its cast. Each of the four leads are on the cusp of being on the cusp and certainly they hope this movie will take them one step closer. For James that might happen. She is a natural on screen and gives a breakthrough performance as the comely Brier. Strait is also a relative newcomer. After turning his debut performance in this summer's Sky High he holds his own in Undiscovered but seems to be relegated to taking his shirt off to make the teenyboppers swoon. Finally there's Simpson who is also making her major-role debut. It's awkward to see her on-screen and yes subconsciously you wait for her to make a noticeable mistake (or butcher a voice-over due to acid reflux). Of course it doesn't happen; she moves along pretty smoothly but is at times subjected to dialogue that seems beyond her especially when she has to words big words such as "banter." And certainly it's not her fault when she describes Luke--a musician best left struggling--as "a cross between Jeff Buckley and Elvis Costello." That's just someone else's words she reciting.
Prolific music-video director Meiert Avis is making his feature film directorial debut with Undiscovered--and his obvious greenness shows. At times the film is more like a music video surrounded by a weak storyline than a cohesive film. His expertise in the rather linear realm of music videos doesn't exactly qualify him for the complexities of a 90-minute film contrived and straightforward as his debut may be. Avis tries to employ every possible clichéd obstacle for the characters to overcome--which reeks of inexperience but could also be the screenwriter's fault. No doubt Avis feels at home with newcomers such as Strait and Simpson who--for all intents and purposes--sing and act but the plethora of singing scenes feel forced. That is forced into the script to showcase the soundtrack when the movie goes undiscovered at the box office.
Bobby Garfield (David Morse) returns to his small hometown to attend the funeral of his childhood friend and remembers the fateful summer in 1960 when his whole world changed. The story flashes back to when 11-year-old Bobby (Anton Yelchin) and his best friends Carol (Mika Boorem) and Sully-John (Will Rothhaar) capture the pure joy of youthfulness. When a mysterious stranger named Ted Brautigan (Anthony Hopkins) moves upstairs and starts to pay attention to Bobby the boy suddenly realizes what's truly missing from his life--the love of a parent. Bobby's mother Liz (Hope Davis) is embittered by the death of Bobby's father and shows little compassion for her son's growing needs. Ted fills a void with the boy opening his eyes to the world around him and helps Bobby come to terms with his real feelings for Carol--and his mother. But Ted also has some deep dark secrets of his own and Bobby tries hard to stop danger from reaching the old man.
The performances make the film especially in the genuine camaraderie of the kids. Yelchin Boorem and Rothhaar never deliver a false move with an easiness that makes us believe we are simply watching three 11-year-old children grow up together. Yelchin in particular is able to get right to the heart of this young boy who misses his father and clings to the only adult who will listen. And his scenes with Boorem simply break your heart. (Davis) does an admirable job playing a part none too sympathetic. She manages to show a woman whose been beaten down but who does truly love her son in her own way. Morse too is one of those character actors you can plug in any movie and get a performance worth noting. In Hearts you want to see more of him. Of course the film shines brightest when Hopkins is on the screen. It may not be an Oscar-caliber performance but the actor is unparalleled in bringing a character to life--showing the subtleties of an old man looking for some peace in his life.
If you are expecting the Stephen King novel you may be disappointed. Screenwriter William Goldman and director Scott Hicks (Shine) deftly extracted the King formula of telling a story through a child's eye and explaining how the relationships formed as a child shaped the adult later. Hicks did an amazing job with his young actors especially Yelchin and Boorem. But where the novel continued into a supernatural theme explaining Brautigan's fear of being captured by "low men in yellow coats" (a reference to King's The Dark Tower series) the movie downplayed the mystical elements instead giving real explanations for Brautigan's man-on-the-run. That was the one problem with Hearts--we needed more danger. Introducing men from another dimension may not have been the way to go but had there been more tension the film would have resonated more especially when Bobby risked his own safety to save Ted.