Universal Pictures via Everett Collection
Endless Love has awakened something in me. Not a long dormant passion for an introverted high school classmate, or a sudden desire to break into the zoo after dark. A question about movies — more accurately, about movie criticism. The same question you would ask yourself if you fell drowsy in the middle of Citizen Kane, or welled up during the emotional climax of Just Friends. The question I ask myself now, as I recount the 103 straight minutes of asphyxiating laughter that I endured during a screening of Shana Feste’s would-be romantic drama: What makes a good movie?
We assign deference to some films, disgust to others — a lucky few of us make a living this way. But what, precisely, are we reviewing? A film’s mission or its execution? The product onscreen or the experience of watching it? All factors come into play when considering whether or not a movie “works.” But on rare occasions you’ll get a film that offers no common ground in its meeting of these standards. You’ll get Endless Love, which strives for dramatic sincerity, winds up with underwritten idiocy, and provokes in its viewers an unrestrained, absurdist revelry — the kind of joy you’d otherwise be forced to seek in a third viewing of The Lego Movie. Laughter at the ill-conceived antics and befuddling dialectical patterns of our central teen couple — a Mars native Gabrielle Wilde and her gaping mouthed beau Alex Pettyfer. Elated bemusement at the younger generation’s propensity for chaotic disrobing and didactically organized dance parties. Unprecedented ecstasy at the Mafia movie intimidation tactics of an overprotective dad (Bruce Greenwood) and the brain-dead disregard of a supportive one (Robert Patrick). As a comedy, Endless Love is unstoppable.
I can only hypothesize that it was not Feste’s intention to roll us in the aisles. I have no cold proof that her resolution in paving every nook in her Georgia-set remake with another farcical stone — Wilde’s instantaneous evolution from wordless ingénue to sexually aggressive spirit walker, Patrick’s loving caution-to-the-wind attitude regarding any situation that has to do with a girl, Rhys Wakefield’s “black sheep” character forming an odd amalgamation of Pauly Shore and Charlie St. Cloud — was not one of Wolf of Wall Street-like satire, or reappropriation in the vein of Spring Breakers. Here are two movies that earned scorn from viewers who read them literally, and in turn vehement defense from those who peered through the exaltation of cocaine and firearms into the filmmakers’ ironic intentions.
Universal Pictures via Everett Collection
To the latter community, one to which I subscribe, I ask: if we’re readily willing to dive deeper for Martin Scorsese and Harmony Korine, shouldn’t we grant Feste this benefit? If we’d defend the authenticity of the splendor we recognized in their movies, why am I inclined to write off the very same when present in this year’s Valentine’s Day cannonball? Why do I eagerly laud the merit in Leonardo DiCaprio directing Quaalude-charged tribal chants and relinquishing subhuman treatment upon anyone short a Y-chromosome, while instinctively shafting the invaluable merriment in Pettyfer’s goofily deliberate declaration that he likes to read into the category of happy accident?
But an even more precise question (one I was challenged to entertain by a friend and film critic far wiser than I am), and this time to the former community: does it matter? Did it matter to all those offended by gunplay and intrusive nudity that Korine set out to demonize youth culture and its omnipresent hedonism? Did considering his intentions make the endgame any less a visceral nightmare? If not, does it matter if Feste poured her soul into the machination of a timeless love story, only to produce a riotous cinematic episode that treads genre parody as expertly as anything from the golden age of the Zucker brothers? Does it matter that she didn’t intend for Wilde and Pettyfer’s sex scene to come off as super-hoke, for every mention of cancer to feel like soap opera send-up, or for Robert Patrick’s vindication of his son’s passion for menagerie trespassing to elicit the biggest laugh of a movie yet in 2014?
So long as I consider the power of cinema, I’ll never be sure if it matters. I’ll never be sure of the answers to any of these questions. But no matter where I find myself standing on this issue down the line, I had far too much fun at Endless Love — and entertained far too many questions on the nature of cinema and the way we react to it — to call it a movie that people shouldn’t see.
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The 2012 Producer's Guild of America Awards are approaching, celebrating both Theatrical Motion Pictures and Long-Form Television with a new batch of nominees that the PGA has just released. Many of the films are no surprise—crossovers with the upcoming Golden Globes nominees abound. For theatrical motion picture include The Artist, The Descendants and Midnight in Paris; nominees for animated theatrical motion picture include Rango and The Adventures of Tintin.
The television nominees also offer some unsurprising names, including Mildred Pierce, Downton Abbey, Parks and Recreation, Boardwalk Empire,Game of Thrones, Mad Men and The Colbert Report.
Darryl F. Zanuck Producer of the Year Award in Theatrical Motion Pictures
Producer: Thomas Langmann
Producers: Judd Apatow, Barry Mendel, Clayton Townsend
Producers: Jim Burke, Alexander Payne, Jim Taylor
THE GIRL WITH THE DRAGON TATTOO
Producers: Ceán Chaffin, Scott Rudin
Producers: Michael Barnathan, Chris Columbus, Brunson Green
Producers: Graham King, Martin Scorsese
THE IDES OF MARCH
Producers: George Clooney, Grant Heslov, Brian Oliver
MIDNIGHT IN PARIS
Producers: Letty Aronson, Stephen Tenenbaum
Producers: Michael De Luca, Rachael Horovitz, Brad Pitt
Producers: Kathleen Kennedy, Steven Spielberg
The Producers Guild of America Producer of the Year Award in Animated Theatrical Motion Pictures
THE ADVENTURES OF TINTIN
Producers: Peter Jackson, Kathleen Kennedy, Steven Spielberg
Producer: Denise Ream
KUNG FU PANDA 2
Producer: Melissa Cobb
PUSS IN BOOTS
Producers: Joe M. Aguilar, Latifa Ouaou
Producers: John B. Carls, Gore Verbinski
The Producers Guild of America Producer of the Year Award in Documentary Theatrical Motion Pictures
BEATS, RHYMES & LIFE: THE TRAVELS OF A TRIBE CALLED QUEST
Producers: Michael Rapaport, Edward Parks (*additional producers eligibility pending arbitration completion)
BILL CUNNINGHAM NEW YORK
Producer: Philip Gefter
Producer: Simon Chinn
Producer: James Gay-Rees
Producers: Cameron Crowe, Michelle Panek
The David L. Wolper Producer of the Year Award in Long-Form Television (Movies of the Week and Miniseries)
CINEMA VERITE (HBO)
Producers: Zanne Devine, Karyn McCarthy
DOWNTON ABBEY (Masterpiece) (PBS)
Producers: Julian Fellowes, Nigel Marchant, Gareth Neame
THE KENNEDYS (ReelzChannel)
Producers: Jon Cassar, Jonathan Koch, Stephen Kronish, Steve Michaels, Michael Prupas, Jamie Paul Rock, Joel Surnow
MILDRED PIERCE (HBO)
Producers: Todd Haynes, Pamela Koffler, Ilene S. Landress, Christine Vachon
TOO BIG TO FAIL (HBO)
Producers: Carol Fenelon, Jeffrey Levine, Paula Weinstein
The Danny Thomas Award for Outstanding Producer of Episodic Television, Comedy:
30 ROCK (NBC)
Producers: Robert Carlock, Tina Fey, Marci Klein, Jerry Kupfer, Lorne Michaels, David Miner, Jeff Richmond, John Riggi, Don Scardino
THE BIG BANG THEORY (CBS)
Producers: Chuck Lorre, Steve Molaro, Faye Oshima, Bill Prady
Producers: Ian Brennan, Dante Di Loreto, Brad Falchuk, Ryan Murphy, Kenneth Silverstein
MODERN FAMILY (ABC)
Producers: Paul Corrigan, Abraham Higginbotham, Steven Levitan, Christopher Lloyd, Jeff Morton, Jeffrey Richman, Dan O’Shannon, Brad Walsh, Bill Wrubel, Danny Zuker
PARKS AND RECREATION (NBC)
Producers: Greg Daniels, Dan Goor, Howard Klein, Amy Poehler, Morgan Sackett, Michael Schur
The Norman Felton Award for Outstanding Producer of Episodic Television, Drama
BOARDWALK EMPIRE (HBO)
Producers: Eugene Kelly, Howard Korder, Stephen Levinson, Martin Scorsese, Rudd Simmons, Tim Van Patten, Terence Winter
Producers: Sara Colleton, John Goldwyn, Chip Johannessen, Robert Lloyd Lewis
GAME OF THRONES (HBO)
Producers: David Benioff, Frank Doelger, Mark Huffam, Carolyn Strauss, D.B. Weiss
THE GOOD WIFE (CBS)
Producers: Brooke Kennedy, Michelle King, Robert King, Ridley Scott, Tony Scott, David W. Zucker
MAD MEN (AMC)
Producers: Jonathan Abrahams, Scott Hornbacher, Andre Jacquemetton, Maria Jacquemetton, Blake McCormick, Dwayne Shattuck, Dahvi Waller, Matthew Weiner
The Award for Outstanding Producer of Live Entertainment & Talk Television
THE COLBERT REPORT (Comedy Central)
Producers: Meredith Bennett, Stephen T. Colbert, Richard Dahm, Tanya Michnevich Bracco, Tom Purcell, Jon Stewart (*additional producers eligibility pending arbitration completion)
THE ELLEN DEGENERES SHOW (Syndicated)
Producers: Mary Connelly, Ellen DeGeneres, Melissa Geiger Schrift, Ed Glavin, Andy Lassner, Kevin A. Leman II, Jonathan Norman, Derek Westervelt
REAL TIME WITH BILL MAHER (HBO)
Producers: Scott Carter, Sheila Griffiths, Marc Gurvitz, Dean Johnsen, Bill Maher, Billy Martin
SATURDAY NIGHT LIVE (NBC)
Producers: Ken Aymong, Steve Higgins, Erik Kenward, Lorne Michaels, John Mulaney
THE 64TH ANNUAL TONY AWARDS (CBS)
Producers: Ricky Kirshner, Glenn Weiss
The Award for Outstanding Producer of Competition Television
THE AMAZING RACE (CBS)
Producers: Jerry Bruckheimer, Elise Doganieri, Jonathan Littman, Bertram van Munster, Mark Vertullo
AMERICAN IDOL (FOX)
Producers: Charles Boyd, Cecile Frot-Coutaz, Simon Fuller, Patrick Lynn, Nigel Lythgoe, Megan Michaels, Ken Warwick
DANCING WITH THE STARS (ABC)
Producers: Ashley Edens Shaffer, Conrad Green, Joe Sungkur, Rob Wade
PROJECT RUNWAY (Lifetime)
Producers: Jane Cha Cutler, Desiree Gruber, Tim Gunn, Heidi Klum, Jonathan Murray, Sara Rea, Colleen Sands
TOP CHEF (Bravo)
Producers: Daniel Cutforth, Casey Kriley, Jane Lipsitz, Dan Murphy, Nan Strait
The Award for Outstanding Producer of Non-Fiction Television:
30 FOR 30 (ESPN)
Producers: John Dahl, Connor Schell, Bill Simmons
AMERICAN MASTERS (PBS)
Producers: Susan Lacy, Julie Sacks
ANTHONY BOURDAIN: NO RESERVATIONS (Travel Channel)
Producers: Christopher Collins, Julie Lei, Lydia Tenaglia, Tom Vitale
DEADLIEST CATCH (Discovery Channel)
Producers: Thom Beers, Jeff Conroy, John Gray, Sheila McCormack, Ethan Prochnik, Bill Pruitt, Matt Renner
UNDERCOVER BOSS (CBS)
Producers: Chris Carlson, Susan Hoenig, Eli Holzman, Sandi Johnson, Stephen Lambert, Allison Schermerhorn
ANDERSON COOPER 360º (CNN)
BBC WORLD NEWS AMERICA (BBC)
NBC NEWS WITH BRIAN WILLIAMS (NBC)
THE RACHEL MADDOW SHOW (MSNBC)
60 MINUTES (CBS)
MONDAY NIGHT FOOTBALL (ESPN)
REAL SPORTS WITH BRYANT GUMBEL (HBO)
SPORTS CENTER (ESPN)
30 FOR 30 (ESPN)
2010 FIFA WORLD CUP (ABC / ESPN / ESPN2)
U.S. OPEN TENNIS CHAMPIONSHIP (CBS / ESPN2 / Tennis Channel)
DORA THE EXPLORER (Nickelodeon)
PHINEAS AND FERB (Disney Channel)
SESAME STREET (PBS)
SPONGEBOB SQUAREPANTS (Nickelodeon)
ASK A NINJA (blip.tv)
THE GUILD (WatchTheGuild.com)
PARKS AND RECREATION PRESENTS: "APRIL AND ANDY'S ROAD TRIP" (NBC.com)
30 ROCK PRESENTS JACK DONAGHY, EXECUTIVE SUPERHERO (NBC.com)
WEB THERAPY (LStudio.com)
*These programs were not vetted for producer eligibility this year but winners in these categories will be announced at the official ceremony on January 21st.
Source: Producer's Guild
Enigmatic and deliberate Tinker Tailor Soldier Spy makes no reservations while unraveling its heady spy story for better or worse. The film based on the bestselling novel by John Le Carre is purposefully perplexing effectively mirroring the central character George Smiley's (Gary Oldman) own mind-bending investigation of the British MI6's mole problem. But the slow burn pacing clinical shooting style and air of intrigue only go so far—Tinker Tailor Soldier Spy sports an incredible cast that can't dramatically translate the movie's impenetrable narrative. Almost from the get go the movie collapses under its own weight.
After a botched mission in Hungary that saw his colleague Jim (Mark Strong) gunned down in the streets Smiley and his boss Control (John Hurt) are released from the "Circus" (codename for England's Secret Intelligence Service). But soon after Smiley is brought back on board as an impartial observer tasked to uncover the possible infiltration of the organization. The former agent already dealing with the crippling of his own marriage attempts to sift through the history and current goings on of the Circus narrowing his hunt down to four colleagues: Percy aka "Tinker" (Toby Jones) Bill aka "Tailor" (Colin Firth) Roy aka "Soldier" (Ciaran Hinds) and Toy aka "Poor Man" (David Dencik). Working with Peter (Benedict Cumberbatch) a conflicted younger member of the service and Ricki (Tom Hardy) a rogue agent who has information of his own Smiley slowly uncovers the muddled truth—occasionally breaking in to his own work place and crossing his own friends to do so.
Describing Tinker Tailor Soldier Spy as dense doesn't seem complicated enough. The first hour of the monster mystery moves at a sloth's pace trickling out information like the tedious drips of a leaky faucet. The talent on display is undeniable but the characters Smiley included are so cold that a connection can never be made. TTSS sporadically jumps around from past to present timelines without any indication: a tactic that proves especially confusing when scenes play out in reoccurring locations. It's not until halfway through that the movie decides to kick into high gear Smiley's search for a culprit finally becoming clear enough to thrill. A film that takes its time is one thing but Tinker Tailor Soldier Spy does so without any edge or hook.
What the movie lacks in coherency it makes up for in style and thespian gravitas. Director Tomas Alfredson has assembled some of the finest British performers working today and they turn the script's inaccessible spy jargon into poetry. Firth stands out as the group's suave slimeball a departure from his usual nice guy roles. Hardy assures us he's the next big thing once again as the agency's resident moppet a lover who breaks down after a romantic fling uncovers horrifying truth. Oldman is given the most difficult task of the bunch turning the reserved contemplative Smiley into a real human. He half succeeds—his observational slant in the beginning feels like an extension of the movie's bigger problems but once gets going in the second half of the film he's quite a bit of fun.
Alfredson constructs Tinker Tailor Soldier Spy like a cinematic architect each frame dripping with perfectly kitschy '70s production design and camera angles that make the spine tingle. He creates paranoia through framing similar to the Coppola's terrifying The Conversation but unlike that film TTSS doesn't have the characters or story to match. The movie strives to withhold information and succeeds—too much so. Tinker Tailor Soldier Spy wants us to solve a mystery with George Smiley but it never clues us in to exactly why we should want to.
WHAT IT’S ABOUT?
George Simmons is a comedian-turned-Hollywood superstar whose comfortable Malibu existence is threatened when he is diagnosed with a rare blood disorder. Placed on a regimen of experimental meds that offer a mere 8% chance of success he’s forced to confront the very real prospect of his own mortality which not surprisingly triggers a drastic realignment of his priorities. Looking for a companion to assist him in his final days he hires Ira Wright an earnest young comedian in desperate need of a break to work as his assistant. Ira naturally jumps at the chance to be mentored by one of his idols but quickly finds himself in over his head as he accompanies George on his perilous chaotic journey of self-discovery and redemption.
WHO’S IN IT?
A newly trim Seth Rogen (Pineapple Express Observe & Report) injects an endearing blend of sensitivity and self-doubt into his normal “lovable schlub” routine as Ira the struggling performer tasked with such a strange assignment. In the role of George Adam Sandler deserves kudos for taking on a character clearly based on himself. It’s not hard to see the similarities between Sandler’s resume of high-concept critically-maligned blockbusters and George’s fictional portfolio of hits like Merman a male-centric version of Splash Re-Do the story of a grown man turned into a baby by a wizard and My Best Friend is a Robot a buddy comedy co-starring Owen Wilson. (For a more complete list check out george-simmons.com.) But in contrast to Sandler’s genial everyman persona George is an acerbic self-absorbed privileged vision of the Hollywood success run amok.
Supporting players include Leslie Mann (Drillbit Taylor Knocked Up) who plays George’s ex-girlfriend and soulmate Laura a one-time actress now married with two children in Marin County. Eric Bana (Munich The Time Traveler’s Wife) makes an inspired turn as Laura’s husband Clarke a boisterous Aussie businessman whose temperament amusingly alternates between violent aggression and teary-eyed affection. Relative newcomer Aubrey Plaza (TV’s Parks and Recreation) is a delight as Ira’s shy witty love interest Daisy while veteran Apatow players Jonah Hill (Superbad Forgetting Sarah Marshall) and Jason Schwartzman (The Darjeeling Limited Walk Hard) provide much of the film’s laughs as his oddball roommates. Rounding out the supporting cast are RZA Aziz Ansari and Apatow and Mann’s real-life daughters Maude and Iris Apatow.
Cameos abound with appearances by such varied names as musician Jon Brion comedians Ray Romano and Andy Dick and rapper Eminem.
After tugging the heartstrings and tickling the funnybone with equal skill in his previous directorial efforts The 40-Year-Old Virgin and Knocked Up Judd Apatow heads into darker more ambitious territory with Funny People while still trying to deliver the same raucous comedy that we’ve come to expect from him. The result is a movie that is at times heartbreakingly poignant and laugh-out-loud funny.
At almost two and a half hours in length Funny People is neither poignant nor funny enough to justify such a bloated running time. Apatow let his ambition get the best of him this time attempting to deliver — to paraphrase his own words — his funniest and most serious film to date. Methinks a shorter cut of the film might have yielded either a great comedy or a great drama depending on which path its director chose. Instead we wind up with a merely good dramedy that meanders for a while before falling off a cliff in the third act.
While offering some sobering advice to Sandler’s character at a high-class restaurant rapper Eminem catches Ray Romano staring at him and unleashes a barrage of expletives at the mortified former sitcom star much to the shock of the surrounding customers. It’s ironic that one of the film’s funniest scenes comes courtesy of one of the few non-comedians in the cast.
The film features solid performances all around but I was most impressed by Bana who displays some terrific range and comedic timing as Laura’s charismatic unstable Aussie husband. Perhaps the man who scowled and brooded his way through Munich and The Hulk might want to consider sprinkling more comedy into the mix.