THE GREEN HORNET

Written by Seth Rogen and Evan Goldberg

Directed by Michel Gondry

Starring Seth Rogen, Jay Chou, Cameron Diaz, Tom Wilkinson and Christoph Waltz

Britt Reid: That is the balls.

I’ve got to give it up for Seth Rogen. The man has gone from full on geek to perpetual stoner to slimmed down, unexpected superhero in Michel Gondry’s most indisputable attempt to penetrate the mainstream, THE GREEN HORNET, a big budget 3D adaptation of the popular 1930’s radio series. Rogen’s transformation is admirable but ultimately not as successful as it needed to be to irradicate the image of the affable teddy bear character we’ve all come to know, love and get slightly tired of in recent years. Subsequently, THE GREEN HORNET plays like a laid back stoner flick without the actual weed, and Rogen, without the haze of smoke surrounding him, is just not as funny as he is when he’s high. That said, he could have been high throughout the entire production for all I know. It just isn’t written in this time.

Rogen co-wrote the script to THE GREEN HORNET with SUPERBAD co-writer, Evan Goldberg. Under Gondry’s somewhat scattered direction, their screenplay becomes a surprisingly well-woven send-up of many superhero clichés, while remaining reasonably grounded in a realistic place, with the exception of random misplaced bursts of Gondry’s hyperactive imagination. Rogen plays Britt Reid, the only heir to his father’s (Tom Wilkinson) newspaper fortune. Britt lost his mother when he was just a boy and his relationship with his father has always been strained, living in that vastly cast shadow. His life is one party after another until his father dies suddenly. Unable to resolve the public admiration for a man who never seemed to care about him, Britt decides he is going to save the world his way – in a green mask and hat, one bad guy at a time.

Of course, Britt can’t do this alone so he enlists the help of his super genius buddy, Kato (Jay Chou), to be his alter ego, The Green Hornet’s sidekick. He also takes Cameron Diaz into his fold but she just looks confused as to when her career became about playing such superfluous secondary characters the whole time. Together Britt and Kato form something much stronger than your everyday bromance; each of them now orphaned, they actually become brothers. It is their relationship, uneven and influenced by class and status yet still devoted, that makes THE GREEN HORNET so relatable and real, which is a lot to say about a movie where guys can stop time in their mind. This is the age of the every man superhero after all. The trouble with regular guys though is that they are often nowhere near as funny as they think they are.

FUNNY PEOPLE

Written and Directed by Judd Apatow
Starring Adam Sandler, Seth Rogen, Jonah Hill, Jason Schwartzman, Leslie Mann and Eric Bana


Ira: Do you like music?
Daisy: Did you just ask me if I like music? That’s like asking if I like food.

You’ve got your funny, you’ve got your people. And FUNNY PEOPLE, the third film by Judd Apatow, the reigning God of all things supposedly funny at the movies, only has room for one of these things. Which one, you ask. Let’s just that's an awfully big cast he's got there. Apatow has set himself apart in the last few years by making stylish comedies that speak directly to an audience that isn’t often engaged when it comes to comedy. It isn’t slapstick; it isn’t stupid. It is smart comedy with real people who have relatable problems but who don’t mind getting dirty with their humour. A comedian who has joked his way through life and is now facing his own mortality is certainly a real problem, just like a forty-year-old who has yet to lose his virginity or a one night stand that resulted in a pregnancy (Apatow’s two previous features, THE FORTY-YEAR-OLD VIRGIN and KNOCKED UP, respectively) are real problems, but FUNNY PEOPLE forgets to be exactly what got Apatow and all his regulars there in the first place – funny.


Apatow has certainly stepped up his game. In many ways, he didn’t have much of a choice. His name has been built up so high at this stage for all of his producing gigs that when one of his own movies drops, it has to lead by example. Casting Adam Sandler as the aforementioned dying comedian was the perfect start to a project brimming with potential. George is not so much unlike Sandler, at least when it comes to his career. Both started out in standup and both went on to make movie after crappy movie to appease the masses. More importantly, both are now in need of redemption for their regrets. (I can’t imagine Sandler is too proud of YOU DON’T MESS WITH THE ZOHAN; I could be wrong, but that’s doubtful.) The art imitating life doesn’t stop there either with Seth Rogen playing Ira, George’s assistant, as Rogen looks destined to follow in Sandler’s footsteps in Hollywood. While it is clear that both are pushing their dramatic acting abilities in this picture, well, it is also clear that they’re trying so it isn’t exactly a resounding success.


People are funny and Apatow knows this. FUNNY PEOPLE definitely refers to the vast cast of people who are all undeniably funny (Jason Schwartzman and Jonah Hill play their own brand of comedians as Ira’s roommates in a subplot that is essentially useless) but it could just as easily refer to the funny things we do as people. Whether that is Ira cussing out a girl he has yet to even have a date with for sleeping with one of his friends or George naively thinking that he can get back with the girl who got away (and who got married and got herself two kids, all played by Apatow’s real-life family, wife, Leslie Mann, and his two daughters, Maude and Iris Apatow) just because time was running out and sympathy was on his side. Hollywood works that way but life just doesn’t and fortunately, Apatow has earned himself enough clout in Hollywood to play against convention, as long as he isn’t making, “Sad People.” He might as well have made the sad one here though; at least then people would know what they were in for.


There is a scene early on in the film where George makes an impromptu appearance at a comedy club the same day he finds out he is dying. He doesn’t want to tell the audience about it; he just doesn’t know what to do with himself. Understandably, his jokes fall flatter than a flat line, and he pauses while on stage to listen to the sound of the cars on the nearby freeway, audible to everyone inside as no one is laughing. It is a touching moment but it also sums up what it is like to watch FUNNY PEOPLE. There is hilarity surrounding you but the delivery only inspires discomfort and a couple of chuckles. Your heart goes out but you wish your gut was hurting just a little too.

WEEKEND BOX OFFICE: Fast Hannah, Furious Diesel

The first time I was ever asked to write a box office report was around this same time last year. I had to report how Miley Cyrus and her alter ego, Hannah Montana, had broken new ground for 3D pictures and concert flicks alike when the BEST OF BOTH WORLDS concert took in over $31 million in what was supposed to be a limited engagement. Taking advantage of the Easter weekend, Disney has unleashed the Cyrus’s first big screen adventure, HANNAH MONTANA THE MOVIE, and proved that you don’t need to lie about limited runs to get people out on opening weekend.


Box office prognosticators debated all week whether HANNAH MONTANA THE MOVIE would be able to topple last week’s unexpected juggernaut, FAST AND FURIOUS. Vin Diesel and Paul Walker may appeal to the ladies out there but the ladies are no match for tween girls. FAST AND FURIOUS managed an almost respectable 60% drop this weekend but its fate was officially sealed when HANNAH MONTANA debuted to $17 million, the biggest opening day ever for a G-rated non-animated film. That one day accounted for 50% of the final weekend gross and allowed America’s newest underage sweetheart to easily slide past F&F’s $28 million. In other holdover news, MONSTERS VS. ALIENS performed strongly in its third week, thanks surely to many kids having Friday off.


Audiences and critics were essentially split on whether OBSERVE AND REPORT was horrifically offensive or hilarious. Either way, this latest Seth Rogen vehicle is his weakest opening besides last fall’s disappointment, ZACK AND MIRI MAKE A PORNO. The bad press on this one will likely ring louder than those who actually enjoyed it given the gravity of how offensive it has the potential to be so a quick decline is to be expected. Even though it did debut higher than ZACK AND MIRI, I would expect OBSERVE AND REPORT to gross less in the long run. The week’s only other Top 10 debut belonged to DRAGONBALL EVOLUTION. None too surprisingly, the film fizzled but it had already made over $25 million internationally prior to this domestic release so all is not lost.


The week’s best per screen average belonged to ANVIL! THE STORY OF ANVIL. This well received rockumentary tells the story of two Canadian buddies who made a promise to rock out forever together and have never gone back on that promise. Playing on three screens in all of North America, the film pulled in a decent $11K average. Meanwhile, quirky indie, LYMELIFE, starring Alec Baldwin and Rory Culkin, pulled in an average of over $7K on four screens.

NEXT WEEK: CRANK:HIGH VOLTAGE (2200 screens) will try to make as much as money as possible before its heart explodes; and even though STATE OF PLAY (2700 screens) boasts a cast including Russell Crowe, Ben Affleck, Rachel McAdams and Helen Mirren, I’m pretty sure none of them have as much appeal these days Mr. High School Musical himself, Zac Efron, whose first major starring vehicle, 17 AGAIN debuts on over 3000 screens. Screaming girls everywhere will flock to see him; I may join them.

Source: Box Office Mojo

OBSERVE AND REPORT

Written and Directed by Jody Hill
Starring: Seth Rogen, Anna Faris, Michael Pena and Ray Liotta


Nell: You shouldn’t give up on your dreams no matter how many people laugh at you.

It isn’t often that this happens but this movie actually dares me to do my job. Well, I have observed and I am here to report that the actual act of observing Seth Rogen’s latest starring vehicle, OBSERVE AND REPORT, is an experience I would not recommend to many, if any. Under the mostly absent direction of Jody Hill (who, it is necessary to note, is a man, in case the name caused any confusion), this hapless comedy goes from mildly amusing and intriguingly edgy to suddenly misogynist and offensive half way through and finishes in completely ludicrous and entirely unfunny frustration. Having been inundated with lovable losers in most recent comedies, Hill makes sure there is nothing redeeming about any of these sad sacks and subsequently, absolutely nothing redeeming about his film. And all this time, I thought comedies were supposed to make you feel good.


Like I said, OBSERVE AND REPORT starts out funny enough. Rogen is Ronnie Barnhardt, head of mall security at the Forest Ridge Mall. For most people, mall security is a joke – just ask Paul Blart. For Ronnie though, heading mall security is one small step below being a real police officer. He is important; he matters more than most and this is the promising premise that Hill presents but eventually puts aside. Just like the tagline of the film says, right now, the world needs a hero, and Ronnie wants to be that hero. Albeit only four letters, hero is a big word that everyone strives to be these days. In America, if you don’t matter to many, than you don’t matter to anyone and Ronnie wants his day in the sun just like everybody else out there. The problem is that not everyone is meant to shine and OBSERVE AND REPORT glorifies all misguided attempts to do so.


All of this would be funny enough, insightful even, if it weren’t pieced together so sloppily or told so ridiculously. Ronnie feels his whole life moving on an upward tick and decides that this would be the perfect time to come off his bipolar disorder medication. As Ronnie unhinges, so does the film. Before you know it, Ronnie is in the middle of what is, save for one supposedly justifying line of dialogue, essentially date rape with the love/lust of his life, Brandi (the grossly underused, Anna Faris). You try to look past it but then he goes off and does a ton of drugs, so much so in one day that I would think he would have been hospitalized. Instead of overdosing though, he beats the living crap out of a bunch of teenage skateboarders. Literally, he breaks their boards over their heads in plain daylight. I’m sure some of them probably died in the hospital but consequences do not exist in Hill’s mind. Stupidity exists and he brings its plainness to life quite vividly but he makes no effort to show where it can lead.


It’s not that Hill has any responsibility to tell it like it really is in a mall cop comedy but it is impossible to look past morally reprehensible filmmaking, especially when it isn’t the least bit funny. The laughs in the screening I attended pretty much dissipated after the first act, leaving the few of us present to sit in silence and awe for a painfully long time. Having made a minor impression with his first feature, THE FOOT FIST WAY, I fear that Hill may fall prey to the same fate as Ronnie Bernhardt. If this is the direction his films will take, then it seems to me that Hill will soon be deluded to think he is actually talented. If there is one thing that OBSERVE AND REPORT taught me though, it's that no matter how dumb or how useless or how completely off the mark you are with your own self-image, all you need to do is own it and everything will work out just fine.

ZACK AND MIRI MAKE A PORNO

Written and Directed by Kevin Smith
Starring Seth Rogen, Elizabeth Banks, Jason Mewes, Craig Robinson and Ricky Mabe


Zack Brown: Everybody wants to see anybody fuck. I hate Rosie O’Donnell but if somebody said, “I got a tape of Rosie O’Donnell getting fucked stupid,” I’d be like, “Why the fuck aren’t we watching that right now?”

Just in time for Halloween, one of the original independent filmmakers, Kevin Smith, gives us something truly frightening … Seth Rogen in a porno. No offence to Seth; I think he’s cuddly and all but porn material, I think not. Or maybe I’ve just been out of the straight porn-watching world for so long that this is what porn has come to. That said, I doubt I’ll be making a trip to my local video shop later to catch up on everything I’ve missed. What’s that? I don’t have to leave my home for this sort of fare anymore? It is all readily available online at the click of my mouse? And what? I’m supposed to be talking about Smith’s latest mild chuckle fest, ZACK AND MIRI MAKE A PORNO? I thought we were discussing film worth leaving the house for. ZACK AND MIRI is not that film. Maybe you could download it, I guess.


Zack and Miri may be making a porno but it is Kevin Smith making another lazy film that we should be focusing on. See, Smith is hoping that his sensational premise is enough to get you laughing ecstatically. He is primarily hoping for this because this way he can pass off his tired characters and simple jokes as something brand new, something no one has ever tackled in film before. Actually, that is giving him too much credit. The truth of the matter is that Kevin Smith is one of the most overrated filmmakers making movies today. He’d probably be the first to agree with me. This is because Smith doesn’t really care about his work and you can feel it in every cliché his characters exist and every joke he sets up. How else can you explain married couple characters who yell at each other incessantly and complain even more so about how horrific and sexless marriage is? Or a party sequence where the camera doesn’t move while we jump cut from one dancing fool to the next in full frame? And how can anyone these days justify using the word “faggot” as a meaningless insult, tossed around irresponsibly? Limited is the first word that comes to my mind.


Getting back to Zack and Miri (Rogen and the luminous Elizabeth Banks), they are the most enjoyable and charismatic things about this film. Zack and Miri have been friends forever and never have they crossed that scary line and stepped into the realm of sex between friends. They live together, if you want to call their situation living. They’re months behind on their rent; their electricity and water have been shut off; and neither one has a job that can actually get them out of this mess they’ve found themselves in. Naturally, they turn to the world of pornography for salvation. After all, they just found out that they have access to hundreds of contacts on their high school alumni mailing list that will no doubt jump at the chance to see this infamously platonic twosome finally get it on. I don’t know about you but if I was so down on my luck that I needed to make porn to bail myself, I’m pretty positive that the high school acquaintances that teased and taunted me at my most fragile moments would not be the first people I would be peddling my wares to. In fact, they would be right up there with my mom.


The irony of ZACK AND MIRI MAKE A PORNO is that Kevin Smith should feel right at home with the kinds of lower production values pornography calls for. In fact, I think I may have seen amateur porn that is subtler and more original than this film. It is not without its charm or its laughs but ZACK AND MIRI MAKE A PORNO is as forgettable as most of Smith’s work and not nearly as intriguing as actual porn.

Black Sheep Previews: ZACK & MIRI MAKE A PORNO

Seriously people ... who among you has not been there before? Your heat just got shut off; you're two months behind on the rent; and you're ten years out of high school and still selling coffee to loads of people doing way better than you. You've got to get out of this horrible hole! And then it hits you. What can you do that requires very little talent, will be loads of fun and has a built-in audience guaranteed to make you the big money? That's right, baby! You too can make porn! You can make porn, sell it on the internet and solve all your troubles. Let me tell you, if Zack and Miri can do it, so can you.

ZACK AND MIRI MAKE A PORNO is the latest chef d'oeuvre from everyone's favorite amateur filmmaker working in the big boys' world, Kevin Smith. It stars unlikely Hollywood it-boy, Seth Rogen and Mrs. Laura Bush herself, Elizabeth Banks. The twosome play roommates in some horrifically freezing American city who pretty much fall into the rut I described above. Now, Smith has never been known for his tact or restraint so give him the freedom to explore the good, clean world of pornographic filmmaking and you can almost certainly expect a multitude of moments that'll get your jaw dropping. This also marks a departure for Rogen. Up until now, the man has been firmly attached to Judd Apatow produced projects whenever he's been a leading man. Now, it's time to let another boy in a man's body take control apparently.


ZACK AND MIRI MAKE A PORNO made its debut at this year's Toronto International Film Festival and delighted audiences. The rest of us regular folk will get the chance to see it when it goes nationwide on October 31. Click HERE for more information.

PINEAPPLE EXPRESS

Written by Seth Rogen and Evan Goldberg
Directed by David Gordon Green
Starring Seth Rogen, James Franco, Danny McBride and Rosie Perez


Private Miller: I feel like a slice of butter melting all over a big ol’ pile of flapjacks … yeah.

I’m pretty sure my mother always told me that smoking pot was bad for you. She’s my mother so, naturally, I always believed her. Now, I’m not so sure though. She couldn’t possibly have seen PINEAPPLE EXPRESS before making this assertion. If she had, then she would know that smoking only leads to hilarity and kinship. At least that is one of the many valuable life lessons I learned while watching the latest Seth Rogen vehicle to come off the Judd Apatow assembly line. I also learned that paranoia can be a very good thing, that friends who smoke together stay together and that James Franco actually has a drastically different side to his usual stoic, dry presence. I think most importantly though, I learned that stoner movies, when they’re done right like this one, don’t require the audience to smoke up heavily beforehand in order to have a good time. Albeit, I’m sure a whole other kind of good time would be had if you did.


You could see this movie as an opportunity for Rogen to push his pot smoking agenda onto unsuspecting youths that think of his as some sort of demi-God after last year’s one-two punch, KNOCKED UP and SUPERBAD, or you could just drop the act and enjoy the trip. Besides, smoking is hardly over glorified in this film. Every time Rogen, as Dale Denton, a crafty process server, lights up, he finds himself in a whole heap of trouble. He makes stupid mistakes that lead to his deeper and deeper into despair. And while watching Rogen alone is certainly entertaining, watching him get goofy with a buddy is even better. The buddy here is the unexpected Franco. Franco plays Saul Silver, the drug dealer to Dale’s drug doer. Get these two in a forest and give them a little herbal amusement and there is no telling how stupid they will get and how far out in space their minds will go. There is one sure thing though, weed brings these two together and their lives are better for it.


Thank goodness these two have each other because they could never endure what they need to go through all alone. Saul sells Dale some of his highest-grade bud, called pineapple express. It’s so rare, so exclusive, that after Dale witness a homicide and dumps his roach at the scene, he believes that it can be tracked back to him. Saul must then get involved as he is the sole distributor of pineapple express and therefore the whole thing can be traced back to him. In order to get out of their unfortunate bind, the two must go to the source and get the bad guys, including a feisty Rosie Perez as a crooked cop, before the bad guys, and gals, get them. Many a stoner has inhaled and embarked on zany adventures before these two but how many find themselves in high speed car chases or live-or-die bang-up’s or even fleeing scenes of explosive proportions? Well, I can’t say actually but I can say that none have been this funny in what feels like a very long time (what feels even longer if you actually are stoned).


Dale and Saul are the new stoner buddies, the new Harold & Kumar, if you will. They are accidental action heroes whose pot smoking both gets them in and out of trouble. Unlike the punks responsible for the most recent Harold & Kumar disaster, the people behind PINEAPPLE EXPRESS are actually interested in making a solid film, one with an engaging story and consistent character development. Director David Gordon Green (SNOW ANGELS) knows that just because his characters are stoned out of their heads 99% of the time does not mean his audience will be necessarily. The audience might want to shut off and have a great time, either naturally or enhanced naturally, and that does not mean that you don’t actually have to try. When I want to shut off, I like to be around good people and let the laughs roll. Watching PINEAPPLE EXPRESS is like hanging out with the guys and I already want to hang out with these guys again next weekend.

KUNG FU PANDA

Written by Jonathan Aibel & Glenn Berger
Directed by Mark Osborne & John Stevenson
Voices by Jack Black, Dustin Hoffman, Angelina Jolie, Jackie Chan, Ian McShane, Seth Rogen, Lucy Liu and David Cross


Shifu: We don’t wash our pits in the sacred pool of tears.

Fortune cookie wisdom is imparted throughout the colorful KUNG FU PANDA. Some of it makes no sense out of context but it all amounts to some very simple, very basic advice about believing in the warrior within. “There are no accidents,” claims the coolest of Zen master turtles after a panda drops from the sky at just the right moment to be deemed the next Dragon Warrior. There are especially no accidents when no risk is taken. That panda is of course the panda from the title and from the moment this lazy emotional eater is “discovered” as the warrior that will go on to save the kingdom, you know exactly how the entire thing will play out. Po (voiced by an increasingly subtle Jack Black) will drown in doubt while he trains for something he doesn’t believe himself capable of; the other animals will badger him into giving up; but eventually, he will find his inner kung fu master and save the day. Subsequently and expectedly, reviewers will call it out for its lack of originality. That’s how it goes.


So it isn’t so original. No big deal. What it lacks in originality, it makes up for in style and humour. Relatively new directors, Mark Osborne and John Stevenson have created a multihued ancient China that moves with stealth precision between enchantment and explosive energy. Its inhabitants are geese and rabbits that live their lives in the shadow of lore. As long as all is peaceful, then they can blissfully enjoy their noodle soups in the town square and if anything should happen to collapse that peace, then they have the kung fu specialized Furious Five – a tiger, a monkey, a crane, a snake and oddly enough, a mantis – to protect them from whatever evil lurks. No one member of the community has more faith in these five than Po. His idolatry of these heroes extends to numerous posters on his walls and action figures by his bed. Black plays Po as the hardcore geek that hides his enthusiasm and secret desire to be a part of it all in fear of being ridiculed for wanting the impossible. Po is that unfortunate fat kid from school that wants to hang with all the cool kids, hates that he’s stuck working at the local fast food joint after school and knows that there’s nothing he can do about it. Wait; was I that kid? Is that why I love him?


KUNG FU PANDA is overloaded with voice talent. Any scene with Po is usually hilarious as I guess Black knows what it’s like to be the unlikely guy hanging with the in crowd. However, when he isn’t in the picture, the delivery from the majority of the A-list cast is often bland and purely functional. Po, and his kung fu trainer, Shifu (a frustrated and disgruntled, yet still minutely optimistic Dustin Hoffman) trade quips with fervor and weight and make for much giddiness. The Furious Five, not so much. Considering they’re voiced by actors as varied as Angelina Jolie, Jackie Chan and Seth Rogen, you would think they would provide for plenty of conflicting antics but they end up reduced to nothing more than another obstacle for Po to overcome. I’m no kung fu expert but I’m pretty sure gossiping and bad mouthing members of the team when they aren’t there (and sometimes even when they’re right in front of them) is not part of the package. Our heroes aren’t always what we hope they will be when we finally find ourselves face to face with them but these five could have certainly been truer to their furious form if some element of development had been given to them.


Still, despite its unevenness and seemingly simple approach, KUNG FU PANDA is great wisdom wrapped in even greater fun and often breathtaking animation. Sometimes the simplest of lessons are the ones that are hardest to learn. (Now I’m a fortune cookie.) Perhaps the subtlest lesson the film passes on is to relinquish your control over the destiny of your own life. Po never thought he would find himself surrounded by his heroes, getting the chance to realize his life long dream of becoming a kung fu master but here he is suddenly. Master Shifu never thought he would be training such a useless lump but here his is as well. It is only when each character let go of their egos and expectations that they saw how to make their situation work. Shedding your own expectation for KUNG FU PANDA to be something more than what it really is will allow for the good times intended to be had and an unexpected tranquility to seep into your mind.

DR. SEUSS’ HORTON HEARS A WHO!

Written by Ken Dario and Cinco Paul
Directed by Jimmy Hayward and Steve Martino
Voices by: Jim Carrey, Steve Carell, Carol Burnett, Will Arnett, Seth Rogan and Charles Osgood


Katie: In my world, everyone’s a pony and eats rainbows and poops butterflies.

Dr. Seuss has not always found fortune when making his way from page to screen. But, this latest incarnation is the most who-larious I’ve ever seen. Get it? Who-larious? Like “hi-larious” but with “who”. As in all the Who’s down in Whoville and little Cindy Lou Who? Fine, roll your eyes but you’d be rhyming too if you stopped being so cynical and saw HORTON HEARS A WHO! It’s funny; it’s goofy; it’s surprising and loopy. It’s colorful and flashy; it’s unexpected and splashy. Wait. Splashy? Is that even a word? I needed something to rhyme with flashy and what I came up with was absurd. Sorry, I promise I won’t rhyme all the way through. Besides I’m no match for Dr. You-Know-Who. It’s just that this movie is so darn adorable when all the previous Seuss movies have been basically horrible. The spirit of the book remains completely intact but it’s modern somehow and as a matter of fact, the ideas have expanded without looking back. Now, thanks to the good folks at Blue Sky, the studio that gave us ICE AGE before this, Dr. Seuss can rest easy, his legacy revered and no longer amiss. So pack up your car, pack up your girl and your boy and bring them to see Horton, a movie the whole family can… hmm, what rhymes with “boy”? Employ? Coy? Toy? Nevermind. Bring them to see Horton, a movie the whole family can appreciate.


All that rhyming was mildly exhausting. Let’s move on to the intellectualizing portion of this review. When HORTON HEARS A WHO! was originally published in 1954, Dr. Seuss gave his young readers an important lesson about how any voice, no matter how small it may appear to be, can change the world. Screenwriters, Ken Dario and Cinco Paul, have developed the confidence-boosting tale into a much grander take on societal hierarchies, the power of the imagination and the possibility that we are not alone in this universe. The very big elephant, Horton (voiced in a lovably whimsical fashion of fancy by Jim Carrey), randomly finds the tiniest world in the most unexpected of places, a spec of dust that has flown past him to eventually rest comfortably on a clover. It turns out that this world is known as Whoville. It plays home to hundreds if not thousands of Who’s and is run by a Who known only as The Mayor. You can only imagine The Mayor’s surprise when Horton finally makes contact with him. Now imagine that surprise voiced by the self-deprecating, neurotic genius of Steve Carrell. Together, Carell and Carey play perfectly off each other as their performances are based in the knowledge that Horton and The Mayor are not nearly as different as they initially appear. Though one is huge and one is small, they both know the meaning of responsibility and importance of helping all who need.


Of course, back in the Jungle of Nool that Horton calls home, no one believes his story about the people on the spec, so he must go it alone. This would be fine if it weren’t for one kangaroo (Carol Burnett), the self-proclaimed ruler of this particular jungle. Horton’s flagrant use of his imagination could inspire others and before you know it, all you got is anarchy. And so the door is opened to one of many lessons that give this fable a great richness. While children are not often discouraged to use their imaginations, here they are encouraged to support what they believe to be true inside of their hearts. In doing so, they should even challenge the status quo. Combine that with Horton’s perseverance, dedication and loyalty to his cause as well as The Mayor’s ability to rally his people together by overcoming his insecurity to become a great leader and you’ve got a family film focused on promoting fine values instead of promotional products for a refreshing change. The best part is that the lessons never take away from the fun!


I know I wouldn’t have an easy time if a giant elephant I couldn’t see informed me that my whole universe was nothing more than a spec of dust. This is why I’m not in charge of the planet, I suppose. Although slightly less jarring, I was also thrown and most certainly impressed by the existential depth of HORTON HEARS A WHO! Who knew that an animated family flick could challenge the young minds of children the world over to think for second about the fragility and preciousness of life itself while cracking them up non-stop and without freaking them out? Horton knew; that’s who!

Oh wait … ENJOY!! Enjoy rhymes with boy. Right.

SUPERBAD

Written by Seth Rogen and Evan Goldberg
Directed by Greg Mottola


Evan: I’m just sick of all the amateur stuff. If I’m paying top dollar, I want a little production value. Y’know, some editing, transitions, some music.

Seth: Well, I’m sorry, Evan, that the Coen brothers don’t direct the porn that I watch. They’re hard to get a hold of.

Ah, to be young and free. It was a simpler time when the pursuit of booze and babes was enough to drive a young man right through to adulthood. Alright, so this wasn’t my personal youth experience but it is the premise of director Greg Mottola’s SUPERBAD, a new breed of teenage sex comedy. Here, partying and getting naked with girls are exposed as a thinly veiled act of desperation to prove how grown up one is. The kids are speeding down a hill, screaming their excitement to the sky, but can see that they are also getting closer and closer to everything they’re afraid of, waiting for them at the bottom. Before they know it, high school will be over and Seth and Evan (Jonah Hill and Michael Cera), best friends since they were five, will find themselves going in separate directions to different colleges. While one raucous night finds them trying to score alcohol to impress the girls they each want to get with, it is what they learn about each other, their futures and themselves that will end up defining the night they thought would simply be the night they got some.


Whether Seth and Evan are trying on pants and debating what exactly is “too tight” or discussing the injustices of men having to hide their erections in shame from the rest of the world while buying drinks at the corner store, they are always hilarious. You could put these two in practically any scenario and the laughs would flow. They are drastically different but compliment each perfectly. Seth is loud and foul. Nearly every thought that comes out of his mouth is about sex and he is completely oblivious to the world around him. Meanwhile, Evan is mild mannered and meekly composed. He is constantly muttering sarcastic quips that most don’t hear and is acutely aware of his surroundings. The two are inseparable but one gets the impression their friendship is based more on its history than what they have in common. One thing they do have in common though is awkwardness. While one covers up his insecurity with obnoxious remarks and the other barely hides it at all, they both have each other to be themselves with. The beauty of their performances lies in the conveyance of the recently rising knowledge that the friendship that makes them feel safe is also now the friendship that is stopping them from going any further.


Written by KNOCKED UP star, Seth Rogen and long time friend, Evan Goldberg, SUPERBAD is at times genius in its subtlety. This is no easy feat considering how outrageous it is most of the time. Loosely basing Seth and Evan on themselves (sorry fellas but the names give it away), they manage to pinpoint the moment these boys become aware of their co-dependence. The two characters are so well drawn that you never want them to leave the screen. Only they do to make room for a third friend, Fogell (Christopher Mintz-Plasse). Fogell is somehow even more socially retarded than Seth and Evan and is himself a funny enough secondary character despite his entire existence being based on one-off joke that is given away in the preview (McLovin!). It is the direction his character takes the film in that is an unnecessary distraction. Fogell/McLovin spends his night riding around in the back of a police cruiser with two of the worst police officers ever to walk the beat (played by Rogen and Bill Hader, whom I would sooner never see on film again). The cops are such screw-ups that all they do is make every scenario they’re in worse than it was before they got there. With most of their humour falling flat and not coming close to measuring up to Seth and Evan, they have a similar effect on the film itself. Filler is rarely fun and here it exposes the writers’ insecurity regarding their own abilities.


So this is the story of how Seth Rogen is both his best friend and worst enemy at the same time. Alongside Goldberg, the two have stated publicly how they never want to grow up. While that gives them a particular insight into the pivotal crossroads Seth and Evan, the characters, find themselves at, it also makes SUPERBAD, a movie about maturity which is meant to be immature at times, less mature than it actually should be. For the most part, SUPERBAD is surprisingly mature, while still maintaining its youthful glow. Seems to me that Seth and Evan, the writers, could stand to learn a thing a two about evolution from the characters they created in their own image. Growing up isn’t all that bad and it can still be freackin’ hilarious.

KNOCKED UP

Written and Directed by Judd Apatow


Pete: Isn’t it weird when you have a kid and all your dreams go out the window?

Judd Apatow is something of a contemporary creative hero. He is a man who works within a rigid system and delivers consistently hilarious fare that manages to remain oddly honest and revealing. The director of THE 40 YEAR OLD VIRGIN returns this summer with KNOCKED UP, a comedy about dealing with the unexpected that lives up to all its expectations. After one night of drunken, messy sex, Alison and Ben (Katherine Heigl and Seth Rogen) find themselves in a situation many have found themselves in before, pregnant. Alison is fresh from a promotion while Ben is busy doing nothing at all. Neither expected to see the other ever again, much less raise a child together. This is horrible timing for both of them but both must learn that nothing makes two people grow up faster than having a baby. And what do two grown-ups do when faced with a less than ideal scenario like this one? Why they give up on looking for love and force a relationship to form between each other for the sake of their child and in the interest of being responsible human beings. The idea that they could actually be successful is hilarious enough in itself.

Apatow sets us up from the start. We meet Ben in the middle of a stoned back yard boxing match of enormous proportions. Moments later, we meet Alison waking to her alarm so that she can prepare for her responsible day as a functional member of society. They meet each other in a bar later that day. Alison is there to celebrate her promotion and Ben is there to drink. Alison is young and vibrant; Ben is a pudgy stoner. He is not without charm but social hierarchies would keep him way out of her league. And so KNOCKED UP begins its journey into the male fantasy. In this fantasy, a male nobody can get with a female somebody with absolutely no explanation that would give it any sort of rational sense. Without it though, there would be no premise to develop. Further to this, Alison decides that she and Ben should do their best to be together. This successful woman who already has a supportive family that could help her through her pregnancy and raise the child suddenly sees no chance of finding her own happiness and learns to settle.


Are you laughing yet? C’mon, this is funny stuff. The funniest thing about KNOCKED UP is that it actually is funny. Heigl and Rogen both turn in fantastic performances that will certainly leave audiences wanting even more of them. They are also surrounded by a number of supporting players who may be one-sided but make the most of their limited depth. On Alison’s side, Leslie Mann and Paul Rudd play Alison’s sister and her husband. They too found themselves unexpectedly pregnant when they were younger and decided to take a shot at happiness together. Only, all these years later, he makes excuses to be out of the house to clear his head and she doesn’t trust that he’s being faithful. On Ben’s side, he’s got a pack of stoner buddies (Jason Segel, Jay Baruchel, Jonah Hill and Martin Starr) who help him keep it real. They also stop him from becoming the man he needs to be if he’s going to be a good father. Where Apatow’s talent steps in is in making all of this symbolism apparent without being the least bit obvious or overwrought. The entire cast is clearly having a blast with their characters and with each other, making it impossible not to laugh along with them. There are also more pop culture references than you can shake a “Gilmore Girls” series finale at.


Despite all their chemistry though, Heigl and Rogen never fully convince me that they have actually fallen in love. Sure they each learn a thing or two about themselves and how to be better to each other but in the end, Apatow does more damage than good. One walks away from KNOCKED UP thinking that a baby can bring people together or save a relationship. One also walks away thinking that to grow up means to leave your dreams and frivolity behind you, to settle in to a potential life of boredom and disappointment. Finally, and fortunately for all involved, one also walks away from KNOCKED UP laughing one’s ass off and not caring one bit about convention and the dangers that stem from it.