Little Fockers (2010)
★ / ★★★★
It seemed like Jack Byrnes (Robert De Niro) and Greg Focker (Ben Stiller) had finally found a way to get along after years of power struggle which often involved physical pain. Much to Greg’s surprise, Jack wanted him to be the “Godfocker” or the head of family. But when Jack began to feel a gnawing suspicion that Greg was having an affair with a beautiful pharmaceutical representative (Jessica Alba), Jack and Greg’s temporary ceasefire was shaken. Directed by Paul Weitz, “Little Fockers” was lifeless, tedious, and humiliating. There was no good reason for these characters to be on screen again because not only was there no story, there was no chemistry among the characters. We learned nothing new about them and they weren’t very funny because all of the jokes were either uninspired or recycled from other lame-brained comedies. The “I’m watching you” joke may have been amusing more than a decade ago but after hearing the same joke over and over again, it wasn’t even chuckle-worthy. The slapstick scenes served no purpose other than to disgust and Alba’s character doing physical stunts felt utterly desperate. The only two characters I found somewhat amusing were Roz (Barbara Streisand), Jack’s mom, and Prudence (Laura Dern), the recruiter for the elementary school Jack and Greg were interested in for the twins. Roz’ jokes about sex and aging were transparent but least they served a nice break from the two warring fathers. Prudence, on the other hand, was amusing because she found herself in disbelief when dealing with the Fockers. Having experience in working with obnoxious kids and dealing with, to put it lightly, difficult parents her fake smile was all too familiar. I enjoyed Dern’s performance, even though she wasn’t given very much to do, because she made Prudence relatable and less of a caricature. Unfortunately, the picture had to return its focus to Jack and Greg attempting to make each other’s lives miserable. It was almost masochistic. Toward the end, I thought its sweetness was completely false because the evolution in Jack and Greg’s relationship was absent. It was insulting that the filmmakers actually believed that we would buy the charade. The scene right before they were nice and gooey, Jack and Greg were so mean-spirited toward each other, I wondered if they genuinely regarded each other as family. Greg perfectly knew that Jack had a serious heart condition yet he wasn’t attuned enough not to throw a punch. With a sharper script equipped with enough character development and jokes that were actually funny and subversive, perhaps “Little Fockers” could have passed as a remotely mediocre comedy. Instead, this movie personified what the bottom of a barrel looks and sounds like: dark, depressing, and desperate.
A Serbian Film (2010)
★ / ★★★★
Milos (Srdjan Todorovic) was a former pornographic actor who retired early. He had some savings but since he didn’t have a stable job, his family was in a state of financial difficulty. When Lejla (Katarina Zutic), a former colleague, contacted Milos about a once in a lifetime opportunity work with an independent director, Vukmir (Sergej Trifunovic), the husband and his wife (Jelena Gavrilovic), Marija, agreed that he should accept the offer because the paycheck would allow them to be set for life. However, Vukmir’s project was incredibly top secret. Even Milos was ignorant to what he was about to do in front of the camera. Based on the screenplay by Aleksandar Radivojevic and Srdjan Spasojevic, “Srpski film” managed to take the term “torture porn” on a new level. There was a plethora of scenes that depicted women as playthings. It showed them screeching out of pain from objects thrusted inside them, being punched in the face until their faces were swollen and bloody, forcing to perform fellatio until they passed out due to a lack of oxygen, and being cut into pieces with a machete. It was ugly and it was shameless in challenging us to keep our eyes open to see what would happen next. Supposedly, the filmmakers’ intention was to parody the movies made in Serbia. They didn’t like the forced political correctness that plagued the films in their country. So, by creating something that is so far from what is expected, it is an act of standing up against the mundane movies that are constantly being financed, made, and released. I understand their intention, but I don’t quite see how this project is supposed to be a parody given that there was nothing amusing about it. I was disgusted. I was shocked. I was disturbed. But laugh I did not. I thought it was very cruel to women. For a movie that was supposed to be progressive-thinking, the final cut was backwards. And it fails with a deafening thud. Furthermore, if the filmmakers’ intentions were completely taken out of the equation, I would still consider the film to be weak. Milos wasn’t portrayed as a responsible father and husband, in the least, so how could we root for him? His family was supposed to be struggling financially, yet it wasn’t shown to us that he tried to get a job anywhere. It was mentioned that he had an education. He wasn’t old, so why didn’t he seriously consider other options before accepting a cryptic job? The movie was about a half an hour too long. There were too many scenes when Milos was drugged and looking confused. He, as well as the audiences, were left to decipher what had happened to him through millisecond flashes of images accompanied by shrill, harsh sounds. Not only were the techniques an assault to the senses, it didn’t feel like being on a journey with Milos was ultimately worth it. He lacked pragmatism; he always happened to helplessly stumble upon one bad situation to the next. “Srpski film,” also known as “A Serbian Film,” directed by Srdjan Spasojevic, is a one-note mean joke where nobody wins. I welcome transgressive movies given that their ambition and intention meet a certain level of artistry that forces me to think about the power of the movies as well as consider possibilities of unexplored territory. Pascal Laugier’s “Martyrs” is an excellent example of a transgressive film. “A Serbian Film” is cheap and execrable.
The Virginity Hit (2010)
★ / ★★★★
Four desperate friends (Matt Bennett, Zack Pearlman, Jacob Davich, Justin Kline) made it a tradition that they would only smoke weed using a special hookah when each of them lost their virginity. When all three but Matt finally had gone all the way, they decided they would help him out and document every step of the way. But when they found out that Nicole (Nicole Weaver), Matt’s girlfriend, had cheated on him with a frat guy, Matt and his friends had to find other means for Matt to experience his first sex. Written and directed by Huck Botko and Andrew Gurland, “The Virginity Hit” interestingly adopted a faux-documentary style but completely missed the mark. In the end, it felt like a cheap imitation of Greg Mottola’s “Superbad” and Paul Weitz’ “American Pie” but with characters who took idiocy to the next level. The crux of the movie’s so-called dramatic tension could have easily been solved with a teaspoon of intelligence. For instance, when Matt and his friends heard rumors that Nicole had been less than loyal, not one of them bothered to approach Nicole and ask her version of what happened. They immediately decided to take the cruel path. That is, pretend they knew nothing of the rumors, convince Matt to take Nicole on a date for their anniversary, have sex with Nicole for revenge, and broadcast it over the internet. The characters thought it was all fun and games. I was shocked that not one for them stood up against what was happening and express how mean-spirited it all was. There were also some “funny” scenes like the teenagers stealing from a store, breaking into people’s private properties, and other misdemeanors that could potentially land them in court to get sued or, worse, in jail. I tried to see that perhaps it wanted to comment on rampant youth and its relationship with YouTube culture. However, I didn’t feel as if the directors had full control of their material. Its in-your-face approach was its only technique. The filmmakers should have known that the ability to pull back was an essential weapon in order to highlight the positive feedback of certain videos uploaded on YouTube and people taking pleasure in watching other people’s suffering and humiliation. There was not one character to root for here. I wanted to root for Matt because he was the one who was pushed around. There were some scenes that almost portrayed him being forced to have sex just for the sake of losing his virginity. Why did they care anyway? It was none of their business. I thought it was sad and I couldn’t help but feel angry for him. I kept waiting for Matt to stand up to his friends. Even if he wasn’t successful in his attempt, I would have ended up liking him because it meant that he had a voice and he wasn’t afraid to use it. But he didn’t. Some people had their lives ruined by the things portrayed on this film. It was too bad the material failed to take that fact into account.
Due Date (2010)
★ / ★★★★
Peter Highman (Robert Downey Jr.) was on his way back to California because his wife (Michelle Monaghan) was expected to give birth soon. But Peter’s luck turned for the worse when he met Ethan Tremblay (Zach Galifianakis), an aspiring actor with a dog, at the airport. They both got into a car accident. Then they accidentally switched each other’s luggages. They even ended up sitting near each other on the plane. The two ended up talking about bombs on terrorists before take-off which prohibited them from flying. Despite all the unfortunate events and the fact that Peter couldn’t stand Ethan’s crazy antics, they decided to go on a cross-country road trip. Directed by Todd Phillips, the film was a broad comedy with two main characters we couldn’t help but dislike. Peter had a faux confidence about him but he was very sensitive to comments that one could easily let go. When threatened, he showed his mean-spirited sense of humor. One of the ugliest scenes was when he actually hit a kid in the stomach and the boy was left writhing in pain on the floor. It was supposed to be funny. On the other hand, Ethan, having the gall to try to pass off as twenty-two years old, was a total imbecile. I wondered how he made it through life not taking anything seriously. Or worse, living a life so completely unaware that other people needed their personal space. However, the film had few moments of hilarity. The bathroom scene was particularly memorable as Peter gave Ethan hypothetical situations and the aspiring actor had to prove that he had the talent to make it in Hollywood. Even though they didn’t necessarily get along, I felt a strange camaraderie growing between them. Unfortunately, with each good scene, a bad one always came after. Writers should know that when they feel like they should throw in an obligatory car chase, their material is in trouble. I just didn’t see what was so amusing about regular people doing their jobs and they ended up getting hurt because Peter and Ethan had a one-track mind. Casting actors like Jamie Foxx, Danny McBride, and Juliette Lewis was a waste. They were asked to play stereotypes, but I wasn’t convinced, in the five minutes of screen time they were given, that they injected something unique to their characters in order to make their roles memorable or worth watching. They certainly didn’t make Peter and Ethan any funnier or more charming. “Due Date” failed to make me laugh on a consistent basis. I chuckled (and was grossed out) during the masturbation scene and smiled when Ethan discussed getting a perm. But it wasn’t enough. Maybe the writers should have aspired to write a dark comedy screenplay instead.