The Guard (2011)
★★★ / ★★★★
When a man was found dead in an apartment, Sergeant Gerry Boyle (Brendan Gleeson), along with McBride (Rory Keenan), a cop from Dublin on his first day of work in the small town, was called in to investigate. Boyle surmised that the murder involved the occult due to the mysterious number painted onto the wall next to the body and a pot placed between the man’s groin. Meanwhile, an FBI Agent Wendell Everett (Don Cheadle) was brought in from the United States to stop crooks (Liam Cunningham, Mark Strong, David Wilmot) from intercepting five hundred million dollars worth of cocaine. Inevitably, the two crimes were related so Boycle and Everett were forced to work with each other despite a very offensive and awkward first impression. Written and directed by John Michael McDonah, “The Guard” was uproariously funny mainly because of Boyle’s foul mouth. He was unable to keep his thoughts in his brain as long as he felt he had something to say. His racist remarks were very offensive, like publicly saying that he thought criminals only consisted of black people, but since he lived his entire life in a relatively isolated town in Ireland, he wasn’t even aware of his indiscretions. Yet his ignorance was no excuse. From the way the comedy was executed, we laughed at him because he didn’t know any better, not because his claims necessarily had merit. On the other hand, Everett was the humorless straight man who just wanted to get the job done. He was professional, charming, and patient but such qualities were tested whenever Boyle was around. Imagine being forced to work with someone you don’t like, but you need that person to achieve the same goal. As the Irishman and the American engaged in verbal sparring over drinks, the criminals almost did all the work so that they would eventually get caught. Because of this, the picture adopted an unconventional pace. We knew that the criminals’ and cops’ paths would eventually cross. Interestingly, it was actually the criminals who found Boyle first instead of the other way around. What I liked was the fact that the crooks weren’t just bad. They were bad and very funny. The small surprises made a lasting impact without coming off as forced. The film was also effective when the unlikely duo was apart. While Boyle’s interactions with the little boy (Michael Og Lane) with a pink bike and dog was rather whimsical, the scenes with his dying mother (Fionnula Flanagan), who lived in a care home, were funny and at times heartbreaking. The time they spent together showed us where Boyle got his fiery personality from and his overall capacity to do good. Just because he had a proclivity for spitting out racial slurs, it didn’t mean that he was incapable of being good person and a good son. What “The Guard” needed to be truly incendiary were more scenes of uncomfortable tension. When one of the cops accidentally encountered the bad guys, the camera remained a few feet away. The lens should have been up close to the cop’s face because he knew as well as we did that there was no possibility that the crooks would let him walk away alive. They had half a billion dollars to lose. Many men kill for much less.
★★★ / ★★★★
Graeme (Simon Pegg) and Clive (Nick Frost), British comic book fans, on their way to explore the legendary Area 51 came across an alien named Paul (voiced by Seth Rogen), on the run from government officials who wanted to exploit his extraterrestrial abilities. Written by Nick Frost and Simon Pegg, “Paul” was a quick-witted buddy road trip comedy equipped with a plethora of references to various sci-fi pop culture, obscure and mainstream. The film opened at the San Diego Comic Con. While it did make fun of fans dressing up as their favorite movie and comic book characters, it was never mean-spirited in its approach. In fact, it was a rather good start. Its bona fide sense of humor, situational or otherwise, was exactly why we wanted to follow Graeme and Clive in their epic, awkward, exciting adventure. As usual, Pegg and Frost had wonderful chemistry. The way they delivered their lines and the way they moved around each other convinced me that their characters were true BFFs. I looked at the CGI Paul with grand curiosity. Initially, I found him to be rather stoic. But the longer I stared at him, the more easily I could identify his subtle facial expressions; I almost wanted him to be my pet. He was funny and rather harmless. More importantly, the writing took advantage of the strange creature on screen. We learned specifics in terms of his abilities. For instance, while he had the power to become invisible by whim, he could only do it if he held his breath. Gifts with limitations are interesting. The government agent in charge of capturing Paul was called Agent Zoil (As in Lorenzo Zoil–get it?), gleefully played by Jason Bateman. Bateman being serious in a picture like this was like watching a giraffe attempting to do somersaults. It just didn’t ring together. However, it worked. His attempt to suppress his little ticks was what made the role funnier than it should have been. Also, there was a balance. We saw glimpses of how dangerous he could be. As he aimed his gun toward a moving target, I found myself holding my breath. I took the intensity in his eyes quite seriously and I didn’t expect to. His fellow agents (Bill Hader, Joe Lo Truglio), ambitious but incompetent and rash, highlighted the man in black’s intractable goal of getting to Paul first. One of the qualities I admired most about the film was it didn’t overwhelm us with cryptic allusions. There were obvious camera angles which served to highlight an important science fiction actor walking in on a frame. I didn’t get some of the references but I wasn’t bothered by them. Either I felt like I was still in on the joke or I was too preoccupied wondering what would happen next. “Paul” was sweet but never sentimental, funny but never obnoxious. I did wish, however, that we could have seen more of the alien hotspots that Graeme and Clive visited. After all, they were supposed to be on an epic road trip. And I would have been floored if Special Agents Mulder and Scully from “The X-Files” made brief appearances. Still, the picture did do without.
★★★★ / ★★★★
When Annie (Kristen Wiig) was informed by Lillian (Maya Rudolph), her BFF, that she was getting married, Annie was very happy for her friend yet she was reminded of her own failures. The list included her business venture involving a bakery that went under because of the recession and the fact that she was far from being in a stable romantic relationship. She thought the best she could do was to be in a no strings attached relationship with a womanizer (Jon Hamm) who drove a fancy car and was brazen enough to criticize her teeth. Upon hearing the news, the lingering moment when we noticed her genuine happiness change into critical self-evaluation was “Bridesmaids,” written by Kristen Wiig and Annie Mumolo, at its best. It wasn’t just a comedy about a wedding but it was about the people that made the celebration stressful and special. When Lillian introduced Annie to little-miss-perfect Helen (Rose Byrne), Annie felt threatened. Helen was rich, men noticed her when she entered a room, and had a natural elegance in the way she carried herself. Annie was just none of those things. One of the most memorable scenes, gloriously awkward and laugh-out-loud funny, involved Annie and Helen attempting to deliver the best toast. The way they snatched the microphone out of each other’s iron grip defined their relationship. As audiences so used to seeing the maid of honor and her rival in more generic and spineless comedies, we expected Annie and Helen to eventually deliver a punch (or purposefully dig one’s stiletto in another’s foot) as the scene went on. But they never did. Part of the joy of watching them together was experiencing the uncomfortable and unbearable tension, their passive-aggressiveness, their willingness to prove that, for Annie, Lillian chose the right friend to be the maid of honor and, for Helen, that she was the more practical choice because she had a talent for micromanagement and the fact that she had connections. The other hilarious bridesmaids were Melissa McCarthy, unapologetically profane and we love her for it, Wendi McLendon-Covey, the extremely unhappy mother of three boys, and Ellie Kemper, bored of her life because everything was rooted in being safe. The unhappiness of these women were relatable, engaging, and ultimately touching. But “Bridesmaids” had its share of gross-out humor. I’m particularly difficult to impress with scenes involving bodily functions but I actually enjoyed those moments. It worked because the material was already very funny. The over-the-top gags were simply icing on the wedding cake (or should I say wedding dress?). Directed by Paul Feig, “Bridesmaids,” character-driven, calculated shots but effortless delivery, and appealing to both women and men, is a rarity in mainstream comedy.
Joan Rivers: A Piece of Work (2010)
★★★★ / ★★★★
Ricki Stern and Anne Sundberg spent a year with Joan Rivers to document her rollercoaster ride of a career. Joan Rivers is a comedian, but she claimed she was an actress at heart; she simply played a comedian and she knew she did it well. I saw Joan Rivers for the first time on TV when she interviewed people on the red carpet during the Oscars. There were two thoughts that ran across my mind: “Who is this hilarious woman?” and “She’s had way too many facelifts.” She knew exactly what people thought of her yet she decided to forge on like she didn’t care. It’s not that she wasn’t hurt by mean comments (especially critiques directed at her acting abilities), but being in show business was what quenched her appetite yet at the same time fueled her hunger to be relevant and reinvent herself. Despite the ups and downs of Rivers’ career in a span of one year, the directors successfully painted a well-realized picture of their subject. I had no idea that Rivers had been around since the early 1960s and had appeared on “The Tonight Show Starring Johnny Carson.” I didn’t even know she won in a reality show. But it was the small details in her life that moved me, one of which was when she expressed to the camera that one of her biggest fears was that one day, she’ll turn around and find nobody she knew well enough to ask, “Do you remember?” Despite her lavish lifestyle (and she told us bluntly that she loved living comfortably), I’m convinced she held more value to personal links and true companionship than she led us to believe. That moment swept me off my feet because I did not expect it from a comedian who made outrageous jokes about AIDS, abortion, and even handicapped individuals. I was also moved at the part when she and her grandson decided to volunteer for God’s Love We Deliver to deliver food to handicapped people who couldn’t leave their homes on Thanksgiving. At end of the day, Rivers concluded that “Life is mean.” For a woman who was seventy-five years old, working at very strange (and very late) hours, sometimes traveling in the middle of nowhere, I couldn’t help but ask how she continues to do it. I found her story inspirational because it made me think about where I want my career to go. “Joan Rivers: A Piece of Work” is full of beautiful contradictions that weren’t necessarily easy to swallow but that’s exactly what I loved about it. Ultimately, that’s what I loved about her. She’s edgy, ironic and she knew the business (and the busy-ness) of show business. People thinking of establishing a career under the scrutiny of the public eye should see this documentary. They just might think twice. Joan Rivers said she’s never seen her name without a positive adjective right before it. How about the resplendent Joan Rivers?
Home Alone 2: Lost in New York (1992)
★★★ / ★★★★
A year after the McCallisters accidentally left Kevin alone at home during Christmas, the family decided to go to Miami for vacation in hopes of getting some sun. Once again, the parents (Catherine O’Hara and John Heard) overslept the night before so the family had to rush to the airport in order to catch a plane. But they didn’t leave Kevin (Macaulay Culkin) at home this time around. They actually lost him at the airport because Kevin followed a man with the same coat as his father which resulted to our little protagonist boarding a plane to New York City. The sequel to the highly successful “Home Alone” proudly followed the same formula as its predecessor which was not necessarily a bad thing. While it was slightly weaker than the original because it did not feel as fresh, this installment was still entertaining because Culkin was still endearing as young Kevin and he had a knack for solid comedic timing mixed with being cute as a button. The fantasy of being in the Big Apple, staying in a fancy hotel, and spending as much money as possible was something that we can all to relate to. I have to admit I did salivate when I saw the obnoxious amount of candy and ice cream that surrounded Kevin in his hotel room. The two idiotic burglars (Joe Pesci and Daniel Stern) from the first movie escaped from prison (now calling themselves “Sticky Bandits”) and planned to rob a toy store in which all of its profits were supposed to go to a children’s hospital. Kevin heard about their evil plan so he planned to punish the two in a relatives’ house currently being renovated before handing them over to the cops. The confrontation scenes were much longer and much more violent. I especially enjoyed the scene with the seemingly endless number of bricks being thrown at the villains. It was very violent but no one lost consciousness or died (there wasn’t even a drop of blood). It felt like watching an episode of Wile E. Coyote and Road Runner–the slapstick came hard and fast but every chuckle and laugh was earned. I was surprised that a giant hammer or an avalanche did not make an appearance. “Home Alone 2: Lost in New York,” written by John Hughes and directed by Chris Columbus, embraced its cuddly simplicity, but both children and adults would most likely find it very entertaining. Everything felt bigger in scope with excellent supporting actors like Tim Curry as the suspicious hotel clerk and Rob Schneider as the bellboy who just wanted a generous tip but couldn’t get any. It is unfortunate that most sequels lose the energy and charm that made the original material so fantastic. Luckily, It wasn’t the case here.
Home Alone (1990)
★★★ / ★★★★
The McCallister household was frantic a few days before Christmas because the entire family and a few relatives were about to head to France for vacation. Kevin (Macaulay Culkin), one of the youngest of the kids, felt neglected because his siblings and cousins wouldn’t take the time to help him pack his luggage. Not even his parents could take a minute of their time to aid the plucky youngster. So, during dinner, Kevin acted out and was sent to sleep in the attic as punishment. The next day, everyone slept in and had forgotten they had a flight. As a result of their hustle and bustle, they boarded the plane to Europe completely unaware that Kevin wasn’t with them. “Home Alone,” written by John Hughes and directed by Chris Columbus, was a huge success commercially because it played upon one of a kid’s and a parent’s biggest fear (being alone at home while burglars tried to force themselves in and leaving behind a child, respectively). One of the many smart elements about the film was the fact that the two criminals (Joe Pesci and Daniel Stern) were kept outside of the house for the majority of the picture. Kevin was forced to create many creative and funny diversions to make the robbers believe that the house had people in it. Much to Kevin’s advantage, the two criminals were complete idiots. (Their modus operandi was leaving the water running in the sink after they’ve looted the place.) What made the film much better than a typical child-in-trouble story was Culkin’s energetic and hilarious performance. He was as cute as a marshmallow but he was precocious so he was able to pull off lines that adults might say. His facial expressions–may it be surprise, joy, or teary-eyed sadness were simply priceless. Surprisingly, I found the slapstick comedy thoroughly entertaining. It wasn’t done just because it was convenient. The slapstick was a result of Kevin using household items (and his toys) as a defense against men who wanted to hurt him. When someone slipped on the ice or when someone was hit on the head with an iron, I couldn’t help but wince as if I was the one in pain. But the whole experience was enjoyable because we didn’t want the villains to get their hands on our tiny but brave protagonist. What did not work for me as much was the creepy-looking neighbor (Roberts Blossom) who turned out to have a heart. The scene dedicated to exploring the man’s backstory (a typical one at that) slowed the story’s momentum. Nevertheless, “Home Alone” is a very charming film. More that twenty years have passed since its release, but it still holds up as one of the favorite family movies often played around Christmas. I cannot image anyone not being entertained by its sharp wit, heart, and manic energy.
Legally Blonde (2001)
★★★ / ★★★★
“Law school is for people who are boring, ugly, and serious,” claimed one of the characters from the film but Elle Woods (Reese Witherspoon) begged to differ. Elle, the head of her sorority, could easily be labeled as a dumb blonde because she was used to using her beauty and penchant for saying “like” every other word to get what she wanted. But when her boyfriend (Matthew Davis) broke up with her because he claimed he wanted to start being serious since he got accepted to Harvard Law School, Elle did her best to get into the same school and excel. The picture was pretty much a case that highlighted (in pink) the lesson about not judging a book by its cover and the importance of self-reliance. Although Elle started out as a girl who depended on a guy, I immediately connected with her because of Witherspoon’s sense of fun and wit. It was like she was channeling a valley girl version of Tracy Flick from Alexander Payne’s “Election,” with equal determination minus the desperation. Without Witherspoon’s ability to balance the airhead laughs and genuine intelligence, I think the project would have fallen apart because it would have been one-dimensional. In a nutshell, Witherspoon proved why she was a star and kept the movie afloat despite the predictable supporting characters. For instance, I would have loved to have seen Selma Blair being someone other than an overprotective law student, Victor Garber as a cutthroat lawyer, and Jennifer Coolidge as a soft-spoken manicurist. While they played their roles well, an extra spice was missing because I did not see them evolve in a non-transparent way. “Legally Blonde” could also work as a satire for elitist jerks in educational institutions. In high school, if asked if I could choose between beauty and brains, I would have easily chosen brains. But now that I’ve graduated from a university, I am a bit more hesitant because having a brain does not necessarily equate to having a good heart and therefore having emotional intelligence when it comes to dealing with people. The uptight and snobbish law school students depicted on this movie were not at all dissimilar from some people I met in college. So, in a way, even though I’m not a blonde or an airhead (although I like fashion), I can relate to Elle because she meant well and she tried her best to not be affected by negative energy that surrounded her. I also like to balance and apply my knowledge of pop culture and the other things I’m passionate about in every day conversations. Based on a novel by Amanda Brown and directed by Robert Luketic, “Legally Blonde” is a very enjoyable movie because although it is as light and sweet as cotton candy, it packs a punch.
The Informant! (2009)
★★★ / ★★★★
Mark Whitacre (Matt Damon) had it all: a stable job that paid well, a loving family, a huge home, and absolutely no drama in his life. But his ambition and greed got the best of him and decided that he was going to accuse his company of embezzlement. He just didn’t want to be near the top of the pyramid, he wanted to be at the peak. Somehow, in his mind, he had this idea that if he could take down everyone who was in a higher position than him in the company, he would end up running the whole place. He was logical on the surface but his logic’s core was seriously flawed so he was a fascinating specimen for me to observe from a psychological point of view. “The Informant!,” based on a book by Kurt Eichenwald and directed by Steven Soderbergh, was a hilarious look at a man who was drowning in his lies and delusions, but even funnier was he had no idea when to quit and seek help. I think Damon should have been nominated for an Oscar for his acting in this film because even though he got everyone trapped in his tornado of lies for five years or more, like his wife (Melanie Lynskey) and the two FBI agents (Scott Bakula, Joel McHale) who recruited him as a spy, I had to admit that I ended up rooting for him because his charisma was as powerful as his lies. The desperation that Damon infused in his character made me feel bad for him not just as a character but as a person. In other words, he successfully made a pathological liar look like the good guy. I loved the way Soderbergh helmed the picture. Instead of telling the story in a typical crime drama, it was nicely balanced with dark humor, especially the scenes when the lead character would narrate for a bit so we could hear the many random (sometimes insightful) thoughts and what was really going on inside of his head. Just when I thought I had the movie all figured out, it surprised me because it actually became darker and more amusing as it went on. The director had a way of playing with tones at just the right amount so it didn’t feel jarring when it shifted. Considering the movie covered a span of ten years, the pacing was superb and I actually wanted it to run longer because I was having such a great time. The progression of a confident and obviously smart man who slowly lost all the good things in his life (including his mind) was sad but at the same the journey was quite a ride. I loved that most of the movie’s humor was in the dialogue and situations instead of playing on the obvious. I’ve read reviews from regular folks who claimed that it was stupid. I think those people just need to think for a bit and realize the fact that there’s a Mark Whitacre in all of us (narcissism and all)–the way we lie to people and sometimes how we eventually get tangled up in our own lies to the point where we end up betraying our own ideals.
Good Hair (2009)
★★★ / ★★★★
When I look at people, the first thing I notice about them is their hair. Directed by Jeff Stilson, “Good Hair” follows Chris Rock as he interviews all sorts of people from the United States and India about hair: how natural African-American hair is now regarded as less valuable and less appealing as European and Asian hair. I thought this documentary was absolutely fascinating. I learned so much because I don’t have the kind of hair that African-Americans do so I don’t really know much about their experiences and the pressures they feel about getting “good hair,” a type of hair that the media glamorizes. For me the film reached its highest point when Rock went to India and tried to learn about why so much hair was coming from India. I didn’t know that some Indians viewed having hair as a vanity so they sacrifice their hair for a higher power. While in America, hair symbolizes power and directly correlates to one’s self-esteem. I thought that contrast was so nicely done by Stilson and I realized that, despite the film’s amusing look at the hair industry, there was an inherent sadness about it all. I couldn’t believe that hair cost thousands of dollars and some women would rather pay for a weave than make sure that they have food on the table. On the other side of the spectrum, women choose to buy very dangerous “relaxers,” which is pretty much sodium hydroxide, a very strong chemical. I loved the way the picture showed an experiment where a can was placed in a container full of NaOH with varying rate of exposure. (I’m a sucker for science experiments.) I was so shocked when one of the cans literally melted when exposed to NaOH for about five or six hours. The movie then connected the usage of sodium hydroxide to health–how some parents choose for their children, who are barely three years old, to undergo such extreme (and painful) chemical application for the sake of having so-called good hair. What didn’t work for me, however, was the whole hair competition angle. I thought it made the picture very convoluted and it took away some of the movie’s power because the pre-competition and competition scenes lacked momentum. I wanted more scenes of very funny conversations among Chris Rock, regular folks and celebrities. I thought it was a laugh riot when the film switched its focus to men and how they felt pressure to give their girlfriends money for a weave. All these elements show that having “good hair” is not just a woman’s issue nor is it even a race issue. It’s about increasing number of individuals adapting to a particular mindset of society regarding what is considered beautiful and what isn’t.
Date Night (2010)
★★★ / ★★★★
Steve Carell and Tina Fey star as a married couple who decided to go to the city on their date night to get away from the ennui of their busy schedules which mostly revolved around work and their kids. To spice things up a bit, they decided to go to an exclusive fancy restaurant which required reservations months in advance. Since they didn’t make one, Carell and Fey decided to pretend to be another couple–a couple involved in theft and currently being pursued by corrupt cops (Common, Jimmi Simpson) who seemed to work for the mob of some sort. When I saw the trailers for this film, I knew I had to watch it because casting arguably the funniest people in Hollywood right now is genius. What I loved about this movie most was not because of the story–mistaken identities, a couple feeling like their marriage lacked spark; I’ve seen it all before–but because of the chemistry between Fey and Carell. They matched each other’s awkwardness and both had great comedic timing. The two actors managed to pull off genuinely tender moments between them where I couldn’t help but feel touched. They were a believable couple and that’s why I cared about their characters. Written by Josh Klausner and directed by Shawn Levy, the script and the filmmakers allowed the two leads to play on their strengths and let the awkwardness linger to the point of saturation. But “Date Night” was as funny as it was exciting. The scene when the two cars (one owned by constantly shirtless Mark Wahlberg, a conceit I was glad that the actor embraced) couldn’t uncouple from one another was a definite standout. It was so much fun to watch, I wished that I was in that car with them. However, I did wish that the side characters had more screen time. For instance, Leighton Meester as the babysitter, Kristen Wiig and Mark Ruffalo as the couple about to get a divorce, Taraji P. Henson (who I love in those “Tyler Perry” movies) as the honest detective, and James Franco (doing his “sparkly eyes” thing that I’m always impressed with) and Mila Kunis as the weird but hilarious couple involved in blackmail. Nevertheless, the movie was so much fun and the adventures all over New York City reminded me of “Nick and Norah’s Infinite Playlist.” Those who are in the mood for good-natured comedy with a spice of action will definitely enjoy this movie, while fans of Fey and Carell will undoubtedly be happy with it.
★★★ / ★★★★
I love zombie movies because I’m fascinated with the idea of the dead taking over the world of the living. (Did I mention I have nightmares about zombies?) Not to mention zombie flicks usually have social commentaries which were not absent in this little gem. “Zombieland,” directed by Ruben Fleischer, stars Jesse Eisenberg as Columbus, who wants to make his way to Ohio to be reunited with his parents. On the road, he meets Woody Harrelson as Tallahassee, a man on a mission to find Twinkies; Emma Stone and Abigail Breslin as Wichita and Little Rock, respectively, sisters who initially look innocent but turn out to have a knack for survival. The very “28 Days Later”-like gathering of very different people was smart because all of them yearned for that rare human connection in a world full of flesh-eating monsters. All four of them eventualy head to Southern California in order to find refuge with other humans. I love this movie’s self-awareness. It seemed to know its strengths which were highlighted in the beginning of the film as Eisenberg described his survival guide. It was done with such craft because the jokes were genuinely laugh-out-loud funny so the realization that it was all a gimmick later on became insignificant. The flashback scenes were done well, especially how Eisenberg’s character reflected on how much of a loser he was back when humans still ruled the planet–staying in on a Friday night playing video games, not socializing with people, and not getting enough attention from girls. A lot of people compare him to Michael Cera but I think there’s an important difference between the two. I think Eisenberg’s awkwardness is edgy and his characters usually have a certain toughness. Cera’s awkwardness, on the other hand, is softer and cuter–the kind that makes you go “Aww” and maybe pet him afterwards. That awareness was also highlighted via pop culture references from Russell Crowe, Facebook to Ghostbusters. Comparisons to “Shaun of the Dead” is inevitable because it is a horror-comedy about zombies. But I think “Zombieland” is a little scarier because the characters didn’t stop to analyze a zombie, imitate, and make quirky comments about them. All of that said, I had one problem with the film. I thought it slowed down a bit somewhere in the middle because it spent too much of its time showing the characters bickering on the road. It got redundant and such scenes could have been taken out and instead added terrifyingly slow suspenseful scenes. Lastly, I thought the final showdown at the carnival was inspired. The movie was able to find ways on how to kill zombies using the rides or the characters using the rides to their advantage. It made me want to ride a rollercoaster right then and there. I’ve read audiences’ reviews about how surprised they were with how good the movie was. To be honest, right after I saw the trailer for the first time, I had a sneaky feeling that it was going to be good. It certainly didn’t disappoint and in some ways exceeded expectations. If you love zombie movies, blood and guts, cameos, and pop culture allusions all rolled into one, then see this immediately. It’s total escapism and it has the potential to get better after multiple viewings.
Night at the Museum 2: Battle of the Smithsonian (2009)
★★★ / ★★★★
This sequel to the highly successful “Night at the Museum” finds Ben Stiller, once a night museum guard in the first film, as a thriving businessman. But after he gets ahold of the news that the museum where he met the historical-figures-turned-to-life is to be closed, he feels like he must do something in order to repay them for inspiring him to do something better with his life. More conflict ensue when Stiller gets a call from Jedediah Smith (Owen Wilson), obviously in danger because Kahmunrah (the hilarious Hank Azaria) and his Egyptian army wants the artifact which turns everything in a museum into life to pursue his dream of world domination. Like the first installment, what I love about this picture is its energy. It’s not afraid to put disparate and random elements into the picture so it constantly surprised me. If I were to pick highlights from the film, I would definitely pick any scene when Stiller and Amy Adams (as the charming Amelia Earhart) would talk because they do have genuine chemistry. By the end of the movie, I wanted to know what would happen between them even though we all know that she’s going to turn into a statue when the sun rises. I would also point out that one scene when the both of them decided to jump into a popular photograph (a soldier/sailor and a woman kissing during the end of a war) and everything turned into black and white. During those scenes, I felt like I was watching more than a family-friendly film with funny one-liners. Having Azaria and his Axis of Evil (Steve Coogan as Octavius, Christopher Guest as Ivan the Terrible, and Jon Bernthal as Al Capone) was absolutely brilliant because of his well-timed sense of humor. Every time he spoke (lisp and all), I couldn’t help but laugh because of that one scene where he (too enthusiastically) declared, “I have… come back… to life!” That bit when he tried to decide whether Darth Vader and Oscar the Grouch were evil enough to join his team was pretty darn amusing. Still, I wished that Rami Malek (as Ahkmenrah) was in it more because he really was very funny in the first movie. His increased appearance would’ve also made sense because his older brother (Azaria) was the main villain here. Yes, the slapstick is still present (though in lesser amount compared to the first) but I really didn’t mind it because everything was happening all at once. The historical and pop culture figures may have been portrayed in a cliché manner but I think that’s half the fun of it. I say this one is just as good as the original even though it feels like it doesn’t have a profound story, just one funny scene after another. If they do make a second sequel, I’ll still be interested in watching it.
The Proposal (2009)
★★★ / ★★★★
I was very pleased with this romantic comedy because it more than satisfied my somewhat high expectations. I didn’t think Sandra Bullock and Ryan Reynolds would have any sort of chemistry if they were to star in a movie together but that was quickly proven wrong after I saw the trailer for “The Proposal” for the first time. Bullock plays the dragon-lady editor in a publishing company who pretty much everyone hates and/or fears. Reynolds plays her charming, dryly comedic and sarcastic assistant. When Bullock was called in by her superiors and told her that she was going to be deported back to Canada due to her expired visa (and therefore lose her job), Reynolds came in at a perfect time with just the right words for his boss to think of the idea that they should get married. In return for her citizenship, he would get a promotion and everyone was going to end up happily ever after. But that was before they actually started to genuinely feel something for each other. What I loved about this film was its ability to completely embrace the conventions of the romantic comedy genre that involves two completely different types of people who dislike each other, yet at the same have that certain charm to make the movie feel fresh. Without Bullock’s cold persona (which I found to be completely different from her usual “cheery-hyper” girl roles like in “Two Weeks Notice” and “Miss Congeniality”) with just a drop of humanity and Reynolds’ perfect timing of certain facial expressions and intonations in his voice, this probably would have been just another forgettable sweet movie without any sort of edge to keep me engaged. I also enjoyed the supporting characters such as Betty White, Mary Steenburgen, Craig T. Nelson, and Oscar Nuñez as Reynolds’ grandmother, mother, father and the town guy who seems to be everywhere, respectively. Directed by Anne Fletcher (“27 Dresses,” “Step Up”), “The Proposal” is surprisingly sensitive during its more serious scenes but there’s enough comedy, from light chuckles to hysterical laughters, for it to be completely believable. It also features several stand-out scenes that I couldn’t help but think of on the car ride home. I can only hope that Bullock and Reynolds would star in the same movie sooner. Their funny bickering/jesting scenes are well worth the admission ticket.
The Hangover (2009)
★★★ / ★★★★
Bradley Cooper (he’s seems to be in everything these days such as “He’s Just Not That Into You,” “Yes Man” and “The Midnight Meat Train”), Ed Helms, Zach Galifianakis and Justin Bartha star as four friends who decide to go to Las Vegas for Bartha’s bachelor party. The four make a toast on the roof of Caesar’s Palace hotel and the movie cuts to the next day as the first three try to figure out why there’s a tiger in the bathroom, a baby in the closet, and where the missing groom could be. (Not to mention Helms’ missing tooth.) Their efforts to find out what truly happened the night before lead to very funny (and often ludicrous) situations. I’ve heard from a lot of people this film was gut-wrenchingly funny (as in “Superbad”-funny) so I really had high expectations coming into it. Although it wasn’t quite as funny as I thought it would be (nor was it comparable to “Superbad” because this is geared more toward adults), I have to admit that this is probably the funniest movie of 2009 so far. Its timing of release couldn’t be any more perfect because it’s summer and people often head to Sin City to have some fun. Todd Phillips, the director, was smart enough to make this farce buddy film as short as possible. Only lasting over an hour and thirty minutes, each scene was consistently funny except for about fifteen minutes somewhere in the middle. While it was able to make fun of the characters either by being flat-out mean or crude, their interactions were realistic. I can easily picture actual people saying and doing certain things the characters say and do and that’s why it was so much fun to watch. The brilliant one-liners from Galifianakis reminded me of things that my friends might say when they’re drunk and unaware of things that are happening around them. I also liked the fact that it didn’t quite glamorize Las Vegas. Instead of featuring posh people doing really cool things (which brings caper films and movies like “21” to mind), it focused on regular individuals who are flawed and have actual problems outside their vacation in Vegas; no matter how smart or slick they think they are, they are capable of making mistakes that they do not necessarily learn from. But that’s just me trying to look under the surface. If one is looking for a comedy movie that one can watch with friends on a slow weekend, this is definitely the one to watch because it can easily inspire a night out (no matter how late it is).