“Bridesmaids” Movie Review

Directed by Paul Feig, Written by Kristen Wiig and Annie Mumolo, 125 minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

There's a moment in the new comedy “Bridesmaids,” where Kristin Wiig's character, Annie, refers to a fake boyfriend named George Glass. George Glass, of course, is probably the most famous faux-suitor in the world, finding fame in the 1960s as the imaginary man of one Jan Brady.

It's no surprise that Annie would be interested in the same man: Annie is essentially a mid-30s version of Jan—the new Jan Brady, if you will.

This concept drives “Bridesmaids.” Annie's life isn't what she hoped for: Her love-life is in the toilet, acting as a friend with benefits to a hilariously chauvinistic Jon Hamm; the bakery she bet the farm on went under; her living situation with two creepy British siblings is off-putting; and when she's crowned maid of honor for her best friend's wedding (Maya Rudolph), she spends the next few weeks "Marcia-Marcia-Marcia-ing" Helen (Rose Byrne), the bride-to-be’s new best friend.

Wiig’s performance is at the center of what turns out to be a well-rounded and hilarious cast of characters. As she sets up—and inevitably ruins—each situation, director Paul Feig discovers dozens of opportunities for laughs, as each of the peripheral members of the wedding party vomit on and make nice with one another.

This ability to circulate around such a great cast proves a bit more difficult to manage than your typical sitcom. While Feig, who found great success directing television, feels at home in the ensemble, many segments of the exhausting two-hours diverge from the plot and the point. One in particular features Annie attempting to get her Police Officer boyfriend’s (Chris O’Dowd) help in finding a missing person, only to find out that that missing person is in her apartment.

Wiig, who seems more than equipped to balance the split between humor and sincere observation, energetically carries each scene. She sings. She dances. She bakes. But her character, with all her why-isn’t-my-best-friend-paying-attention-to-me-ness, fails to stay fresh by the end of the film. Her problems get worse, but waiting for her to finally realize it’s her fault feels tedious.

The many parts of “Bridesmaids” are better than the whole, with each scene offering a fair share of heart and belly laughs. However, as the film starts dancing around the same pathetic problems of Annie, things begin to slow down immensely. But, for what it’s worth, “Bridesmaids” is a great first step for Apatow in finding his feminine voice, and an even better launching pad for the hilarious Kristin Wiig.

Grade: B

“Bridesmaids” Movie Review

Directed by Paul Feig, Written by Kristen Wiig and Annie Mumolo, 125 minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

There's a moment in the new comedy “Bridesmaids,” where Kristin Wiig's character, Annie, refers to a fake boyfriend named George Glass. George Glass, of course, is probably the most famous faux-suitor in the world, finding fame in the 1960s as the imaginary man of one Jan Brady.

It's no surprise that Annie would be interested in the same man: Annie is essentially a mid-30s version of Jan—the new Jan Brady, if you will.

This concept drives “Bridesmaids.” Annie's life isn't what she hoped for: Her love-life is in the toilet, acting as a friend with benefits to a hilariously chauvinistic Jon Hamm; the bakery she bet the farm on went under; her living situation with two creepy British siblings is off-putting; and when she's crowned maid of honor for her best friend's wedding (Maya Rudolph), she spends the next few weeks "Marcia-Marcia-Marcia-ing" Helen (Rose Byrne), the bride-to-be’s new best friend.

Wiig’s performance is at the center of what turns out to be a well-rounded and hilarious cast of characters. As she sets up—and inevitably ruins—each situation, director Paul Feig discovers dozens of opportunities for laughs, as each of the peripheral members of the wedding party vomit on and make nice with one another.

This ability to circulate around such a great cast proves a bit more difficult to manage than your typical sitcom. While Feig, who found great success directing television, feels at home in the ensemble, many segments of the exhausting two-hours diverge from the plot and the point. One in particular features Annie attempting to get her Police Officer boyfriend’s (Chris O’Dowd) help in finding a missing person, only to find out that that missing person is in her apartment.

Wiig, who seems more than equipped to balance the split between humor and sincere observation, energetically carries each scene. She sings. She dances. She bakes. But her character, with all her why-isn’t-my-best-friend-paying-attention-to-me-ness, fails to stay fresh by the end of the film. Her problems get worse, but waiting for her to finally realize it’s her fault feels tedious.

The many parts of “Bridesmaids” are better than the whole, with each scene offering a fair share of heart and belly laughs. However, as the film starts dancing around the same pathetic problems of Annie, things begin to slow down immensely. But, for what it’s worth, “Bridesmaids” is a great first step for Apatow in finding his feminine voice, and an even better launching pad for the hilarious Kristin Wiig.

Grade: B

“Something Borrowed”

Movie Review

Directed by Luke Greenfield, Written by Jennie Snyder and Emily Giffin, 103 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

“Something Borrowed” is a screwball comedy in which nobody gets anything done. Lacking much story or character development, the film relies on a singular idea—deciding whether to hurt a friend for the sake of true happiness.  It's a premise that runs out of steam halfway through. The film repeats its point over and over, but because the characters remain so static and the two lovers find romance in the first scene, it never hits the emotional or comedic beats it expects, removing any chance for anything other than a predictable finale.

Just as the characters in “Something Borrowed” refuse to come to terms with the people they want to be, the film itself cannot construct the story or ending it wants. Rachel (Ginnifer Goodwin), our selfless main character, sleeps with her longtime crush and childhood best friend’s fiancée, Dex (Colin Egglesfield), and must tell her friend or let go of the one she loves. Yet, unlike a film where the romance between Rachel and Dex is the main crux, “Something Borrowed” strips us of that in the first scene. We know they’re in love, now we wait and see if they will tell a clueless Kate Hudson the truth.

How exciting.

Darcy steals Rachel’s story by being a hapless, attention seeking, party girl who has great friends though does not deserve them. As such, to the audience, Rachel’s decision becomes an easy one: Be with Dex, because Darcy is terrible. Director Luke Greenfield and Hudson (who has some sort of chemical addiction to these types of films) do such a fantastic job of creating an unworthy friend, that the very idea of choosing anything else is a no brainer.

This doesn’t stop anyone from stretching things out an extra 20-minutes. The film drags and drags, until, finally, Ethan (John Krasinski), Rachel’s other childhood friend, yells at her to make a decision. Clearly, he’s expressing the concerns and frustrations of the audience, whom at this point will be so bored by the film’s redundant story that any change, good or bad, will be welcomed. Though, neither Rachel nor Dex, who has some ridiculous obligation to his parents to marry this Darcy, make it easy.

Things get off to a quick start, with Dex and Rachel getting together in the first scene, and with only this one decision to make, the film doesn’t offer enough variety to make it worth of the $11. The very nature of the screwball comedy rests that something unexpected happens to its characters. “Something Borrowed” removes the promise of this before the main title hits the screen.

Grade: C

“Something Borrowed”

Movie Review

Directed by Luke Greenfield, Written by Jennie Snyder and Emily Giffin, 103 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

“Something Borrowed” is a screwball comedy in which nobody gets anything done. Lacking much story or character development, the film relies on a singular idea—deciding whether to hurt a friend for the sake of true happiness.  It's a premise that runs out of steam halfway through. The film repeats its point over and over, but because the characters remain so static and the two lovers find romance in the first scene, it never hits the emotional or comedic beats it expects, removing any chance for anything other than a predictable finale.

Just as the characters in “Something Borrowed” refuse to come to terms with the people they want to be, the film itself cannot construct the story or ending it wants. Rachel (Ginnifer Goodwin), our selfless main character, sleeps with her longtime crush and childhood best friend’s fiancée, Dex (Colin Egglesfield), and must tell her friend or let go of the one she loves. Yet, unlike a film where the romance between Rachel and Dex is the main crux, “Something Borrowed” strips us of that in the first scene. We know they’re in love, now we wait and see if they will tell a clueless Kate Hudson the truth.

How exciting.

Darcy steals Rachel’s story by being a hapless, attention seeking, party girl who has great friends though does not deserve them. As such, to the audience, Rachel’s decision becomes an easy one: Be with Dex, because Darcy is terrible. Director Luke Greenfield and Hudson (who has some sort of chemical addiction to these types of films) do such a fantastic job of creating an unworthy friend, that the very idea of choosing anything else is a no brainer.

This doesn’t stop anyone from stretching things out an extra 20-minutes. The film drags and drags, until, finally, Ethan (John Krasinski), Rachel’s other childhood friend, yells at her to make a decision. Clearly, he’s expressing the concerns and frustrations of the audience, whom at this point will be so bored by the film’s redundant story that any change, good or bad, will be welcomed. Though, neither Rachel nor Dex, who has some ridiculous obligation to his parents to marry this Darcy, make it easy.

Things get off to a quick start, with Dex and Rachel getting together in the first scene, and with only this one decision to make, the film doesn’t offer enough variety to make it worth of the $11. The very nature of the screwball comedy rests that something unexpected happens to its characters. “Something Borrowed” removes the promise of this before the main title hits the screen.

Grade: C

“Madea’s Big Happy Family”

Movie Review

Directed by Tyler Perry, Written by Tyler Perry, 106 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

“Madea’s Big Happy Family” is the 10th film directed by Tyler Perry and the 23rd he’s written. Outside of his popular series of films, the man has built himself an empire of DVDs, stage plays, and two sit-coms. It’s with this knowledge that two conclusions can be drawn: 1) Tyler Perry is a forward-thinking, experimental filmmaker, who has no interest in the conventions of modern, commercial cinema; or 2) He has never seen a movie before in his life.

“Madea’s Big Happy Family” is a mess on all fronts. Perry exaggerates every laugh, cry and moment in his latest “Madea” film, creating a variety of tonal shifts that not only unglue his overall point, but also make it a chore to endure. His jokes are dull, his drama is redundant, and his messages range from the corny to the downright offensive.

Shirley (Loretta Devine) has one dying wish--she wants to bring her dysfunctional family together for one more family dinner. However, her self-involved kids won’t let her get a word out. Byron (Bow Wow), Shirley’s youngest, just got out of prison, has a gold-digging girlfriend who requests he get back into dealing, and fights with his irritating baby momma incessantly about overdue child’s support. Meanwhile, her eldest children, Tammy and Kimberly (Natalie Desselle and Shannon Kane), both have marital problems. Apparently, demeaning their spineless husbands is more important than their obviously sick mother.

So, Shirley does what any woman would do--she calls in Madea (Perry), the wisecracking Deus Ex Machina with enough mouth to fix any problem.

Perry’s message is a strange one and Madea’s solutions support this. She solves Tammy’s disobedient child problems with corporal punishment and drives through the side of a fast food restaurant when a server gets on her nerves. It also seems strange that she would mock her friend for possibly having cancer, but that’s beside the point.

But Madea isn’t the only problem -- although, she does present many. Perry’s humor is all over the place. Scenes that should have some emotional resonance resolve in shouting matches of bland jokes and puns, where Madea proclaims that everyone is apparently senseless.

Much like his last effort, “For Colored Girls,” Perry has a hard time recognizing people as more than stereotypes. Young women are characterized has monstrous harpies, while men are cowardly and emasculated. There’s little variation between these points. Tammy is interchangeable with Kimberly, Calvin with Harold, and Madea with Aunt Bam.

“Madea’s Big Happy Family” is an assault on the senses that rarely congeals into anything resembling humor or reality. I’m still trying to figure out how “Afternoont” and a pancreatic tumor equate in humor, but, hey, maybe Perry’s a pioneer of comedy, too.

Grade: D

“Madea’s Big Happy Family”

Movie Review

Directed by Tyler Perry, Written by Tyler Perry, 106 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

“Madea’s Big Happy Family” is the 10th film directed by Tyler Perry and the 23rd he’s written. Outside of his popular series of films, the man has built himself an empire of DVDs, stage plays, and two sit-coms. It’s with this knowledge that two conclusions can be drawn: 1) Tyler Perry is a forward-thinking, experimental filmmaker, who has no interest in the conventions of modern, commercial cinema; or 2) He has never seen a movie before in his life.

“Madea’s Big Happy Family” is a mess on all fronts. Perry exaggerates every laugh, cry and moment in his latest “Madea” film, creating a variety of tonal shifts that not only unglue his overall point, but also make it a chore to endure. His jokes are dull, his drama is redundant, and his messages range from the corny to the downright offensive.

Shirley (Loretta Devine) has one dying wish--she wants to bring her dysfunctional family together for one more family dinner. However, her self-involved kids won’t let her get a word out. Byron (Bow Wow), Shirley’s youngest, just got out of prison, has a gold-digging girlfriend who requests he get back into dealing, and fights with his irritating baby momma incessantly about overdue child’s support. Meanwhile, her eldest children, Tammy and Kimberly (Natalie Desselle and Shannon Kane), both have marital problems. Apparently, demeaning their spineless husbands is more important than their obviously sick mother.

So, Shirley does what any woman would do--she calls in Madea (Perry), the wisecracking Deus Ex Machina with enough mouth to fix any problem.

Perry’s message is a strange one and Madea’s solutions support this. She solves Tammy’s disobedient child problems with corporal punishment and drives through the side of a fast food restaurant when a server gets on her nerves. It also seems strange that she would mock her friend for possibly having cancer, but that’s beside the point.

But Madea isn’t the only problem -- although, she does present many. Perry’s humor is all over the place. Scenes that should have some emotional resonance resolve in shouting matches of bland jokes and puns, where Madea proclaims that everyone is apparently senseless.

Much like his last effort, “For Colored Girls,” Perry has a hard time recognizing people as more than stereotypes. Young women are characterized has monstrous harpies, while men are cowardly and emasculated. There’s little variation between these points. Tammy is interchangeable with Kimberly, Calvin with Harold, and Madea with Aunt Bam.

“Madea’s Big Happy Family” is an assault on the senses that rarely congeals into anything resembling humor or reality. I’m still trying to figure out how “Afternoont” and a pancreatic tumor equate in humor, but, hey, maybe Perry’s a pioneer of comedy, too.

Grade: D

Shari Springer Berman and Robert Pulcini's "The Nanny Diaries," based on the best-selling book by former nannies Emma McLaughlin and Nicola Kraus, never should have been released in a theatrical version, let alone in its new incarnation on Blu-ray disc.

What we really have here is a made-for-television movie--and a Lifetime cable television movie, at that--which somehow made its way onto the big screen. Helping it land there is an A-list cast that got suckered into believing that all of this would work out well in the end.

It didn't.

Scarlett Johansson is Annie, a recent college grad who longs to leave behind her tepid life in New Jersey with her mother (Donna Murphy) for the bright lights and excitement of Manhattan.

Her mother sees Annie's career flourishing in the business world, but Annie, who prefers anthropology to accounting, isn't so sure about that or anything in her life, least of all herself. So, when fate intervenes by way of a screaming little boy who nearly is run over in Central Park (Annie saves him), she allows herself to consider the possibilities that stem from their chance meeting.

The boy's polished, Upper East Side mother, Mrs. X (Laura Linney), who could harden the earth's core with the frost in her smile, couldn't be more grateful for Annie's help. In fact, she wants Annie to be the help, swiftly procuring her business card and suggesting that Annie call her straight away. When the other mothers in the Park take note, they follow suit, eagerly crowding around Annie in an effort to sway her to be their child's nanny. Overcome with possibilities, Annie considers her next move.

The short of it goes like this--seeing no better prospects, Annie decides to go with Mrs. X, who predictably turns out to be such a bitter control freak, she makes Annie's life a living hell. For Annie, the good news is that she at least has the pleasure of tending to Mrs. X's son, Grayer (Nicholas Reese Art), the boy brat who comes to love Annie when he is reasonably sure she won't leave him as every other nanny has done.

For romantic relief, the movie offers up the Harvard Hottie (Chris Evans), who takes to Annie regardless of how rude she is to him. For hard-core street advice about life, Alicia Keys shows up in a surprise role as Annie's best friend. She turns out to be the most authentic part of a movie that wishes it was as smart and as entertaining as "The Devil Wears Prada."

Beyond Berman and Pulcini's weak, unimaginative script, the trouble with "The Nanny Diaries" is its cast, the lot of whom are caught slumming for stale summer laughs. Once you've seen Johansson shine in "Match Point" and "Lost in Translation," Linney in "Kinsey" and "The Squid and the Whale," or Giamatti in "Sideways," "Cinderella Man," "The Illusionist" and "American Splendor" (which Berman and Pulcini directed), it's difficult to see them so poorly miscast and underused here. You want to ask them what they were thinking, but then you realize it's probably best not to know.

A final note. If the movie had to be made at all, it should have been made for television with actors whose talents were better suited for the slight material. Here's a dream list--Kelly Rippa as Annie, Kathie Lee Gifford as Mrs. X, Kevin James as her husband and Verne Troyer (yes, Mini Me) as their little boy.

Just imagine the Emmys.

Grade: D+

Shari Springer Berman and Robert Pulcini's "The Nanny Diaries," based on the best-selling book by former nannies Emma McLaughlin and Nicola Kraus, never should have been released in a theatrical version, let alone in its new incarnation on Blu-ray disc.

What we really have here is a made-for-television movie--and a Lifetime cable television movie, at that--which somehow made its way onto the big screen. Helping it land there is an A-list cast that got suckered into believing that all of this would work out well in the end.

It didn't.

Scarlett Johansson is Annie, a recent college grad who longs to leave behind her tepid life in New Jersey with her mother (Donna Murphy) for the bright lights and excitement of Manhattan.

Her mother sees Annie's career flourishing in the business world, but Annie, who prefers anthropology to accounting, isn't so sure about that or anything in her life, least of all herself. So, when fate intervenes by way of a screaming little boy who nearly is run over in Central Park (Annie saves him), she allows herself to consider the possibilities that stem from their chance meeting.

The boy's polished, Upper East Side mother, Mrs. X (Laura Linney), who could harden the earth's core with the frost in her smile, couldn't be more grateful for Annie's help. In fact, she wants Annie to be the help, swiftly procuring her business card and suggesting that Annie call her straight away. When the other mothers in the Park take note, they follow suit, eagerly crowding around Annie in an effort to sway her to be their child's nanny. Overcome with possibilities, Annie considers her next move.

The short of it goes like this--seeing no better prospects, Annie decides to go with Mrs. X, who predictably turns out to be such a bitter control freak, she makes Annie's life a living hell. For Annie, the good news is that she at least has the pleasure of tending to Mrs. X's son, Grayer (Nicholas Reese Art), the boy brat who comes to love Annie when he is reasonably sure she won't leave him as every other nanny has done.

For romantic relief, the movie offers up the Harvard Hottie (Chris Evans), who takes to Annie regardless of how rude she is to him. For hard-core street advice about life, Alicia Keys shows up in a surprise role as Annie's best friend. She turns out to be the most authentic part of a movie that wishes it was as smart and as entertaining as "The Devil Wears Prada."

Beyond Berman and Pulcini's weak, unimaginative script, the trouble with "The Nanny Diaries" is its cast, the lot of whom are caught slumming for stale summer laughs. Once you've seen Johansson shine in "Match Point" and "Lost in Translation," Linney in "Kinsey" and "The Squid and the Whale," or Giamatti in "Sideways," "Cinderella Man," "The Illusionist" and "American Splendor" (which Berman and Pulcini directed), it's difficult to see them so poorly miscast and underused here. You want to ask them what they were thinking, but then you realize it's probably best not to know.

A final note. If the movie had to be made at all, it should have been made for television with actors whose talents were better suited for the slight material. Here's a dream list--Kelly Rippa as Annie, Kathie Lee Gifford as Mrs. X, Kevin James as her husband and Verne Troyer (yes, Mini Me) as their little boy.

Just imagine the Emmys.

Grade: D+

“Paul”

Movie Review

Directed by Greg Mottola, Written by Nick Frost and Simon Pegg, 100 minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

It’s high time for Hollywood’s geeks these days. With studios pouring thousands of dollars into fanboy appeasement, it’s safe to say that the inmates are now happily running the asylum.

“Paul” is the product of this practice, but, because of its obvious Fanboy pandering, probably won’t speak to everyone. The Sci-fi fun and highly referential humor will make genre fans feel right at home, leaving the vast majority of moviegoers feeling a bit, well, alienated. “Paul” is a love letter to the Spielberg '80s, but slightly misses the sentiment that made the period such a hit.

On a trip to Comic-Con and America’s top UFO hotspots, Graeme and Clive (Simon Pegg and Nick Frost), have a close encounter with a crude little green man named Paul (Seth Rogen). After escaping a nearby military base, Paul heads to meet his Alien friends and asks Graeme and Clive to help him get to his ship before the FBI (Jason Bateman, Bill Hader, and Jo Lo Trugilo) tracks him down.

The plot to “Paul” might seem familiar, because it is -- this Christ-like alien on a race to his spaceship was popular stuff in the '80s, starting with film’s prime influence “E.T.” Its close parody of such a popular film seems like easy fodder for the masses, but Pegg and Frost’s characters and script might be too involved in geek culture to connect with them.

That’s not to say they won’t enjoy it. Rogen offers his everyman persona to an otherworldly character -- and it works like a charm. He infuses his character with every bit of Seth Rogen-ness that viewers have embraced in recent years. Rogen’s foul mouth and slacker attitude make Paul something entirely his own. Most importantly, his laid back style keeps Paul funny, approachable, and a joy to watch.

Pegg and Frost may pander to fanboys, but their heartfelt chemistry makes their strange journey a believable one. Like “Shaun of the Dead” and “Hot Fuzz” before it, their dough-eyed friendship and loyalty to it carries the film’s emotional weight, and as they set off with the likes of Kristen Wiig, playing a converted religious fanatic, their lack of growth may not turnoff non-geeks in the theater. However, a couple of 30-something comic book geeks aren’t as relatable as, say, children and their alien friend.

“Paul” might not connect with everyone, but it’s certainly funny and heartfelt enough to please those brave enough to see it. But given that high-concept, R-Rated comedies struggle at the box office, it seems destined for a cult following rather than a legion of converted geeks.

Grade: B

“Paul”

Movie Review

Directed by Greg Mottola, Written by Nick Frost and Simon Pegg, 100 minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

It’s high time for Hollywood’s geeks these days. With studios pouring thousands of dollars into fanboy appeasement, it’s safe to say that the inmates are now happily running the asylum.

“Paul” is the product of this practice, but, because of its obvious Fanboy pandering, probably won’t speak to everyone. The Sci-fi fun and highly referential humor will make genre fans feel right at home, leaving the vast majority of moviegoers feeling a bit, well, alienated. “Paul” is a love letter to the Spielberg '80s, but slightly misses the sentiment that made the period such a hit.

On a trip to Comic-Con and America’s top UFO hotspots, Graeme and Clive (Simon Pegg and Nick Frost), have a close encounter with a crude little green man named Paul (Seth Rogen). After escaping a nearby military base, Paul heads to meet his Alien friends and asks Graeme and Clive to help him get to his ship before the FBI (Jason Bateman, Bill Hader, and Jo Lo Trugilo) tracks him down.

The plot to “Paul” might seem familiar, because it is -- this Christ-like alien on a race to his spaceship was popular stuff in the '80s, starting with film’s prime influence “E.T.” Its close parody of such a popular film seems like easy fodder for the masses, but Pegg and Frost’s characters and script might be too involved in geek culture to connect with them.

That’s not to say they won’t enjoy it. Rogen offers his everyman persona to an otherworldly character -- and it works like a charm. He infuses his character with every bit of Seth Rogen-ness that viewers have embraced in recent years. Rogen’s foul mouth and slacker attitude make Paul something entirely his own. Most importantly, his laid back style keeps Paul funny, approachable, and a joy to watch.

Pegg and Frost may pander to fanboys, but their heartfelt chemistry makes their strange journey a believable one. Like “Shaun of the Dead” and “Hot Fuzz” before it, their dough-eyed friendship and loyalty to it carries the film’s emotional weight, and as they set off with the likes of Kristen Wiig, playing a converted religious fanatic, their lack of growth may not turnoff non-geeks in the theater. However, a couple of 30-something comic book geeks aren’t as relatable as, say, children and their alien friend.

“Paul” might not connect with everyone, but it’s certainly funny and heartfelt enough to please those brave enough to see it. But given that high-concept, R-Rated comedies struggle at the box office, it seems destined for a cult following rather than a legion of converted geeks.

Grade: B

"Rango"

Movie Review

Directed by Gore Verbinski, Written by Gore Verbinski, John Logan, and James Ward Byrkit, 107 minutes, Rated PG.

By our guest blogger, Matthew Schimkowitz

Director Gore Verbinski certainly had a lot on his mind when directing his first animated feature "Rango"--and he shows it all off in the film's quick 105-minutes. Utilizing the boundless tools of his technically arresting animation, Verbinski puts our titular lizard through the ringer and makes sure he feels every obstacle. Rango may be a CGI-talking lizard, but his character and journey are as complex as any you'll find at the movies this year.

Johnny Depp voices the thespian reptile, who, after accidentally being released from his comfortable but lonely life as a pet lizard, finds himself at a desert outpost with a serious water shortage. Armed with nothing but a red flower shirt and an overactive imagination, the lizard takes on the moniker Rango and accidentally saves the town from a local hawk. Impressed by his ability to tackle the bird with a single bullet, the town names the newcomer sheriff -- his first case: Locate the missing water.

Verbinski populates his film with great heroes and villains that pay homage to and revise their influences. Fellow lizard Beans (Isla Fisher) makes a good match for Rango, complementing his incompetence with logic, while giving her enough history to make her need for a savior reasonable. She never appears incapable, yet remains entirely vulnerable. The same holds true for Rango, who, despite having the guts to stand up for the town, just flies by the seat of his pants. He's the mythic Man without a Name as well as the Man without a Clue.

These characters aren’t perfect, which makes steering the complex plot exciting. Rango hits many walls that his confident cowboy influences wouldn't do as his naiveté and silliness add humor to the spaghetti Western without openly mocking it. Rango plays off clichés, and in turn does his best to fulfill them, and Depp has a ball trying to pull it off.

"Rango" has everything going for it -- strong characters, complex plotting, and a knowledge of the genre it parodies without excluding newcomers to it. It’s smart without being alienating and exciting without being mindless. Verbinski's skill with the beautifully rendered animation--and his dynamic character work--make "Rango" a great time for all comers, and with such a fun lead character, his journey becomes as surprising as the overall production.

Grade: B+

"Rango"

Movie Review

Directed by Gore Verbinski, Written by Gore Verbinski, John Logan, and James Ward Byrkit, 107 minutes, Rated PG.

By our guest blogger, Matthew Schimkowitz

Director Gore Verbinski certainly had a lot on his mind when directing his first animated feature "Rango"--and he shows it all off in the film's quick 105-minutes. Utilizing the boundless tools of his technically arresting animation, Verbinski puts our titular lizard through the ringer and makes sure he feels every obstacle. Rango may be a CGI-talking lizard, but his character and journey are as complex as any you'll find at the movies this year.

Johnny Depp voices the thespian reptile, who, after accidentally being released from his comfortable but lonely life as a pet lizard, finds himself at a desert outpost with a serious water shortage. Armed with nothing but a red flower shirt and an overactive imagination, the lizard takes on the moniker Rango and accidentally saves the town from a local hawk. Impressed by his ability to tackle the bird with a single bullet, the town names the newcomer sheriff -- his first case: Locate the missing water.

Verbinski populates his film with great heroes and villains that pay homage to and revise their influences. Fellow lizard Beans (Isla Fisher) makes a good match for Rango, complementing his incompetence with logic, while giving her enough history to make her need for a savior reasonable. She never appears incapable, yet remains entirely vulnerable. The same holds true for Rango, who, despite having the guts to stand up for the town, just flies by the seat of his pants. He's the mythic Man without a Name as well as the Man without a Clue.

These characters aren’t perfect, which makes steering the complex plot exciting. Rango hits many walls that his confident cowboy influences wouldn't do as his naiveté and silliness add humor to the spaghetti Western without openly mocking it. Rango plays off clichés, and in turn does his best to fulfill them, and Depp has a ball trying to pull it off.

"Rango" has everything going for it -- strong characters, complex plotting, and a knowledge of the genre it parodies without excluding newcomers to it. It’s smart without being alienating and exciting without being mindless. Verbinski's skill with the beautifully rendered animation--and his dynamic character work--make "Rango" a great time for all comers, and with such a fun lead character, his journey becomes as surprising as the overall production.

Grade: B+

"The Cable Guy" DVD, Blu-Ray Review

Directed by Ben Stiller, Written by Lou Holtz, Jr., 96 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

To an Ace Ventura-obsessed public, "The Cable Guy" was a slap in the face to 9-year-olds across the nation when it debuted in 1996 (it's now just out on Blu-ray disc). Its dark sensibilities and sardonic tone pulls no punches. Stiller's film indicts a generation raised on television, leaving few stones unturned and fewer Nick-at-Nite classics unreferenced.

While separated from his girlfriend, Robin (Leslie Mann), Steven Kovacs (Matthew Broderick) strikes a surprising new relationship with his friendly cable guy, Chip Douglas (Jim Carrey). Steven, an all around friendly and well-meaning guy, humors Chip with the prospect of friendship to not hurt Chip's feelings, but the lonely cable guy stops at nothing to please his "preferred customers." Chip's obsession begins to intrude on Steven's personal and professional relationships, forcing Steven to cut Chip loose, and thus sending the disturbed cable guy into a psychotic frenzy.

On paper, "The Cable Guy" resembles thrillers like "Fatal Attraction" and "Strangers on a Train," and at times, the film takes these more unsettling cues. But Carrey and Stiller focus their energy on making Chip's personality disorder funny -- a byproduct of learning the facts of life from watching "The Facts of Life."

Carrey's elastic-man performance kicks the film into hyperdrive, allowing him to be alternately inviting and horrifying. Likewise, Stiller's biting satirical style presents a cartoonish look at the effects of television in its most extreme and mundane forms. To Stiller, the casual viewer depends on the tube for their daily dose of sensationalized escape, while Chip relies on it for guidance.

"The Cable Guy" marked a turn in the careers for both Carrey and Stiller. Carrey's star-power tricked people into turning this offbeat, pitch-black comedy into a summer blockbuster. While Stiller would continue to use satire to skew the industries he's tied to, which heightens his work. Unsurprisingly, the films Stiller directs turn out to be some of his best.

"The Cable Guy" is no exception. For a directorial debut, it's expertly paced and dangerously toned. Carrey's physical and vocal dexterity is hilariously pathetic and menacing, and his magnetic performance drives the film.

Stiller's film might not have been right for a summer release date, but in years since, it's developed a well-deserved cult following. "The Cable Guy" holds up magnificently and provides a nice launching pad for the oft-surprising careers of its masterminds.

Grade: B+

"The Cable Guy" DVD, Blu-Ray Review

Directed by Ben Stiller, Written by Lou Holtz, Jr., 96 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

To an Ace Ventura-obsessed public, "The Cable Guy" was a slap in the face to 9-year-olds across the nation when it debuted in 1996 (it's now just out on Blu-ray disc). Its dark sensibilities and sardonic tone pulls no punches. Stiller's film indicts a generation raised on television, leaving few stones unturned and fewer Nick-at-Nite classics unreferenced.

While separated from his girlfriend, Robin (Leslie Mann), Steven Kovacs (Matthew Broderick) strikes a surprising new relationship with his friendly cable guy, Chip Douglas (Jim Carrey). Steven, an all around friendly and well-meaning guy, humors Chip with the prospect of friendship to not hurt Chip's feelings, but the lonely cable guy stops at nothing to please his "preferred customers." Chip's obsession begins to intrude on Steven's personal and professional relationships, forcing Steven to cut Chip loose, and thus sending the disturbed cable guy into a psychotic frenzy.

On paper, "The Cable Guy" resembles thrillers like "Fatal Attraction" and "Strangers on a Train," and at times, the film takes these more unsettling cues. But Carrey and Stiller focus their energy on making Chip's personality disorder funny -- a byproduct of learning the facts of life from watching "The Facts of Life."

Carrey's elastic-man performance kicks the film into hyperdrive, allowing him to be alternately inviting and horrifying. Likewise, Stiller's biting satirical style presents a cartoonish look at the effects of television in its most extreme and mundane forms. To Stiller, the casual viewer depends on the tube for their daily dose of sensationalized escape, while Chip relies on it for guidance.

"The Cable Guy" marked a turn in the careers for both Carrey and Stiller. Carrey's star-power tricked people into turning this offbeat, pitch-black comedy into a summer blockbuster. While Stiller would continue to use satire to skew the industries he's tied to, which heightens his work. Unsurprisingly, the films Stiller directs turn out to be some of his best.

"The Cable Guy" is no exception. For a directorial debut, it's expertly paced and dangerously toned. Carrey's physical and vocal dexterity is hilariously pathetic and menacing, and his magnetic performance drives the film.

Stiller's film might not have been right for a summer release date, but in years since, it's developed a well-deserved cult following. "The Cable Guy" holds up magnificently and provides a nice launching pad for the oft-surprising careers of its masterminds.

Grade: B+

"Hall Pass"

Movie Review

Directed by Peter and Bobby Farrelly, Written by Peter and Bobby Farrelly, Pete Jones, and Kevin Barnett, 105 minutes, Rated R.

By our guest blogger, Matt Schimkowitz

From 1994 to 1997, Peter and Bobby Farrelly were the reigning kings of comedic raunch. From "Dumb and Dumber" to the game-changing "There's Something About Mary," these two showed the world that nothing was too humiliating or distasteful for the sake of laughter. Furthermore, they sealed each comedy with kiss, adding a strong love story presented by even stronger comedic ensembles.

Then, around the turn of the decade, their act started to slip.

Films like "Stuck on You" and "Fever Pitch" showed a softer, kinder Farrelly brothers, and the results weren't good. Years of bad scripts and an inability to keep up in the post-South Park world showed the Farrellys losing their edge.

"Hall Pass" elevates them a bit higher, with a script and cast that's better than anything they've worked with in a decade. Trouble is, these elements still never seem to click and they cause the film to stop dead in its tracks. The Farrellys have a strong story to tell, but the humor and sentiment now feel even more behind in the post-"Hangover" 2010s.

Rick and Fred (Owen Wilson and Jason Sudeikis) are obsessed with sex. No women is invulnerable to their wonton stares, and when their obvious drooling gets them into trouble, their wives suggest giving them a "hall pass," a week-long break from marriage to get their desires out of their systems.

Their wives know their game isn't what it used to be, and as they strive for footing in the dating world, Rick and Fred find their 40-year-old bodies struggling to keep up. Rick and Fred succumb to eating fatty foods and striking out at the bar, while their wives use the week to their own advantage.

Their off-the-wall week is generally spent fantasizing and eating rather than doing. We rarely see the heat get turned up until the last act--and even then, it feels a little forced. The Farrellys are off their game here. They hope to excite today's audience by making up new pet names for sexual maneuvers, and while that's occasionally amusing, it doesn't really stick--most of the film's jokes go in one ear and out the other. Wilson and Sudeikis seem equally confused--their clowning doesn't maintain the energy the film so desperately calls for.

For these veterans of crude comedy, "Hall Pass" is mediocre, which is to say, at least it's not "Shallow Hal."

Grade: C

"Hall Pass"

Movie Review

Directed by Peter and Bobby Farrelly, Written by Peter and Bobby Farrelly, Pete Jones, and Kevin Barnett, 105 minutes, Rated R.

By our guest blogger, Matt Schimkowitz

From 1994 to 1997, Peter and Bobby Farrelly were the reigning kings of comedic raunch. From "Dumb and Dumber" to the game-changing "There's Something About Mary," these two showed the world that nothing was too humiliating or distasteful for the sake of laughter. Furthermore, they sealed each comedy with kiss, adding a strong love story presented by even stronger comedic ensembles.

Then, around the turn of the decade, their act started to slip.

Films like "Stuck on You" and "Fever Pitch" showed a softer, kinder Farrelly brothers, and the results weren't good. Years of bad scripts and an inability to keep up in the post-South Park world showed the Farrellys losing their edge.

"Hall Pass" elevates them a bit higher, with a script and cast that's better than anything they've worked with in a decade. Trouble is, these elements still never seem to click and they cause the film to stop dead in its tracks. The Farrellys have a strong story to tell, but the humor and sentiment now feel even more behind in the post-"Hangover" 2010s.

Rick and Fred (Owen Wilson and Jason Sudeikis) are obsessed with sex. No women is invulnerable to their wonton stares, and when their obvious drooling gets them into trouble, their wives suggest giving them a "hall pass," a week-long break from marriage to get their desires out of their systems.

Their wives know their game isn't what it used to be, and as they strive for footing in the dating world, Rick and Fred find their 40-year-old bodies struggling to keep up. Rick and Fred succumb to eating fatty foods and striking out at the bar, while their wives use the week to their own advantage.

Their off-the-wall week is generally spent fantasizing and eating rather than doing. We rarely see the heat get turned up until the last act--and even then, it feels a little forced. The Farrellys are off their game here. They hope to excite today's audience by making up new pet names for sexual maneuvers, and while that's occasionally amusing, it doesn't really stick--most of the film's jokes go in one ear and out the other. Wilson and Sudeikis seem equally confused--their clowning doesn't maintain the energy the film so desperately calls for.

For these veterans of crude comedy, "Hall Pass" is mediocre, which is to say, at least it's not "Shallow Hal."

Grade: C

“It’s Kind of a Funny Story”

DVD, Blu-Ray Movie Review

Directed by Anna Boden and Ryan Fleck. Written by Anna Boden and Ryan Fleck, Nev Vizzini (novel), 101 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

All movies have characters. Other movies have character. The dramedy “It’s Kind of a Funny Story,” has the former. Filled to the brim with rounded, interesting people, “Funny Story” develops its impressive screenplay in a bland, roundabout way, which displays the mental instability of its cast, but never expresses it. Trapped in a quirky, sardonic shell, the film explains the characters’ problems, yet lacks any emotional catharsis or personality.

Unable to handle the pressures of teenage life and fearing that he might kill himself, Craig (Kei Gilchrist) checks into the hospital. For Craig, school is too much, girls are too much, and parents are too much--so he pleads with his doctor to do something fast. With no other options, Craig is committed into the adult psychiatric ward of the hospital for one week of observation and treatment.

There, he meets Bobby (Zach Galifianakis), a depressed, middle-aged man who’s undergoing a similar experience to Craig -- he feels alone, scared and is suicidal. Bobby helps Craig along in his treatment, holding a figurative mirror to his problems. Craig’s interactions with people like Bobby teach him about depression and what it takes to overcome it.

“It’s Kind of a Funny Story” has moments of compassion and sensitivity. Zach Galifianakis puts away his typical, aloof persona for a role that is nurturing and complicated. He reveals himself to Craig in unexpected ways, keeping things decidedly subtle. Working from Boden and Fleck's screenplay, the actor avoids cheap jokes at the patients’ expense.

Bobby’s caring nature compliments Craig's growth. Craig undergoes significant changes throughout the film, and this evolution comes slowly but logically. Boden and Fleck fully realize the character, adding layers of complexity, but deny him emotional climax.

While the cast keeps things comfortable, the directing team embellishes frequently and never to the film’s benefit. Their forays into animation, hallucination and dream don’t fully express the emotional states of the characters and do a disservice to the more than capable cast. The film's experimental side interrupts any opportunity actors have of expressing complicated emotions.

“It’s Kind of a Funny Story” focuses almost entirely on Craig and spends most of that time telling us what he’s feeling. However, those emotions are rarely expressed in a visceral way. Instead, the film goes for a more artful approach that never hits home in the way that the directors hope.

Grade: B-

“It’s Kind of a Funny Story”

DVD, Blu-Ray Movie Review

Directed by Anna Boden and Ryan Fleck. Written by Anna Boden and Ryan Fleck, Nev Vizzini (novel), 101 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

All movies have characters. Other movies have character. The dramedy “It’s Kind of a Funny Story,” has the former. Filled to the brim with rounded, interesting people, “Funny Story” develops its impressive screenplay in a bland, roundabout way, which displays the mental instability of its cast, but never expresses it. Trapped in a quirky, sardonic shell, the film explains the characters’ problems, yet lacks any emotional catharsis or personality.

Unable to handle the pressures of teenage life and fearing that he might kill himself, Craig (Kei Gilchrist) checks into the hospital. For Craig, school is too much, girls are too much, and parents are too much--so he pleads with his doctor to do something fast. With no other options, Craig is committed into the adult psychiatric ward of the hospital for one week of observation and treatment.

There, he meets Bobby (Zach Galifianakis), a depressed, middle-aged man who’s undergoing a similar experience to Craig -- he feels alone, scared and is suicidal. Bobby helps Craig along in his treatment, holding a figurative mirror to his problems. Craig’s interactions with people like Bobby teach him about depression and what it takes to overcome it.

“It’s Kind of a Funny Story” has moments of compassion and sensitivity. Zach Galifianakis puts away his typical, aloof persona for a role that is nurturing and complicated. He reveals himself to Craig in unexpected ways, keeping things decidedly subtle. Working from Boden and Fleck's screenplay, the actor avoids cheap jokes at the patients’ expense.

Bobby’s caring nature compliments Craig's growth. Craig undergoes significant changes throughout the film, and this evolution comes slowly but logically. Boden and Fleck fully realize the character, adding layers of complexity, but deny him emotional climax.

While the cast keeps things comfortable, the directing team embellishes frequently and never to the film’s benefit. Their forays into animation, hallucination and dream don’t fully express the emotional states of the characters and do a disservice to the more than capable cast. The film's experimental side interrupts any opportunity actors have of expressing complicated emotions.

“It’s Kind of a Funny Story” focuses almost entirely on Craig and spends most of that time telling us what he’s feeling. However, those emotions are rarely expressed in a visceral way. Instead, the film goes for a more artful approach that never hits home in the way that the directors hope.

Grade: B-

"Network"

DVD, Blu-Ray Movie Review

Directed by Sidney Lumet, Written by Paddy Chayefsky, 121 minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

Ever wonder what an episode of Mary Tyler Moore might look like had it been written by Kurt Vonnegut? Well, look no further than "Network." Just out on Blu-ray disc, director Sidney Lumet's satire about a failing television station leaves no stone unturned, tearing into the stars, the executives, and the audience with a sharp comic edge and a dark sense of humor.

"Network" is about a failing television station called UBS. More specifically, it chronicles the consequences of having lousy ratings. No one learns this lesson more so than longtime news anchor Howard Beale (Peter Finch), who after 15 years behind the desk is cast out from the network in lieu of more contemporary programming. Mad as hell and not going to take it anymore, Howard hijacks the camera during his final broadcast and vents about the grotesque state of humanity and actually makes a connection with the audience.

The rest of the network is flabbergasted, save for the new station programmer Diana Christensen (Faye Dunaway). Diana spent the better part of her time at UBS searching out angry television. With the country in the heart of a recession and the dream of the '60s dead, she’s sees a demand for volatile shows that channel this rage--and Howard Beale becomes her poster child.

Things escalate quickly as Howard becomes the host of his own televangelist talk show. Howard's close friend and longtime partner, Max (William Holden), watches in horror as the show leads to the downfall of the news department, a cult-like viewership, television show's developed by political radicals and terrorist organizations, and the decline of the American family unit.

"Network" is a product of the sum of its parts. The snappy script rattles-off jokes and call-backs with ease. The cast plays along, making sure the audience never misses a moment of just how stupid everything at the network actually is. Finally, Lumet's directing keeps things feeling lighthearted -- even when the subject matter is darkly insulting. Lumet reduces those in the business to sniveling money grubbers and raving lunatics, and the audience -- brainless sheep, willing to eat up anything the executives feed them.

For all of its strange idiosyncrasies, "Network" remains sharply satirical with a keen eye for detail. It's easy to get wrapped up in these people's lives, even if, as Max so appropriately points out, they act as if they're reading from a script. "Network" has little respect for the phony television generation, and through its scathing perception of it, it's easy to understand why.

Grade: A

"Network"

DVD, Blu-Ray Movie Review

Directed by Sidney Lumet, Written by Paddy Chayefsky, 121 minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

Ever wonder what an episode of Mary Tyler Moore might look like had it been written by Kurt Vonnegut? Well, look no further than "Network." Just out on Blu-ray disc, director Sidney Lumet's satire about a failing television station leaves no stone unturned, tearing into the stars, the executives, and the audience with a sharp comic edge and a dark sense of humor.

"Network" is about a failing television station called UBS. More specifically, it chronicles the consequences of having lousy ratings. No one learns this lesson more so than longtime news anchor Howard Beale (Peter Finch), who after 15 years behind the desk is cast out from the network in lieu of more contemporary programming. Mad as hell and not going to take it anymore, Howard hijacks the camera during his final broadcast and vents about the grotesque state of humanity and actually makes a connection with the audience.

The rest of the network is flabbergasted, save for the new station programmer Diana Christensen (Faye Dunaway). Diana spent the better part of her time at UBS searching out angry television. With the country in the heart of a recession and the dream of the '60s dead, she’s sees a demand for volatile shows that channel this rage--and Howard Beale becomes her poster child.

Things escalate quickly as Howard becomes the host of his own televangelist talk show. Howard's close friend and longtime partner, Max (William Holden), watches in horror as the show leads to the downfall of the news department, a cult-like viewership, television show's developed by political radicals and terrorist organizations, and the decline of the American family unit.

"Network" is a product of the sum of its parts. The snappy script rattles-off jokes and call-backs with ease. The cast plays along, making sure the audience never misses a moment of just how stupid everything at the network actually is. Finally, Lumet's directing keeps things feeling lighthearted -- even when the subject matter is darkly insulting. Lumet reduces those in the business to sniveling money grubbers and raving lunatics, and the audience -- brainless sheep, willing to eat up anything the executives feed them.

For all of its strange idiosyncrasies, "Network" remains sharply satirical with a keen eye for detail. It's easy to get wrapped up in these people's lives, even if, as Max so appropriately points out, they act as if they're reading from a script. "Network" has little respect for the phony television generation, and through its scathing perception of it, it's easy to understand why.

Grade: A

“You Will Meet a Tall Dark Stranger”

DVD, Blu-Ray Movie Review

Directed by Woody Allen, Written by Woody Allen, 102 minutes, Rated R.

By Christopher Smith

Now that's he's a confirmed cinematic expatriate (all but one of his last six films have taken place in Europe, and his next film, "Midnight in Paris," takes place in that city,) Woody Allen follows his last film, the New York stinker "Whatever Works," with a better movie set in London.

Since 2005, two great films have come from Allen while shooting abroad--the terrific "Match Point" and the Academy Award-winning "Vicky Cristina Barcelona." "You Will Meet a Tall Dark Stranger" is a slighter work, but it's a modestly good time, if only because so many of its characters are such a hot mess.

Let's just lay it on the line--they are in such a state of disrepair, if you've ever considered therapy, which is the one thread that runs throughout so many of Allen's movies, watching this movie might quell the desire. Almost everyone here is a wreck.

It all begins with boozy Helena (Gemma Jones), who is dumped by her longtime husband, Alfie (Anthony Hopkins, reminding us after a long period of commercial films that he can act), who is having something of a mid-life crisis. He works out incessantly, he jogs, he bikes, but since poor Helena can't keep up with him, he leaves her. What's the poor thing to do, especially since now that Alfie has shacked up with Charmaine (Lucy Punch), the prostitute he's fallen madly in love with?

The answer rests with Helena's daughter, Sally (Naomi Watts), who hooks her up with a faux psychic hauled in to lift Helena up with a handful of lies and deep reservoirs of Scotch. Her job is to convince Helena that her life isn't over. And it works, so much so that Helena starts to see promise in the world, even though her contentious relationship with Sally's husband, Roy (Josh Brolin), hardly makes for a happy family.

About Roy. This is the first film in which Brolin actually looks like the real-life Brolin. Recently, I found myself standing next to him at a Vegas restroom at the Wynn Hotel. His body is oddly thick and truncated, almost dwarfish, which doesn't come through in his other movies, but which Allen emphasizes here in ways that make Roy, who has an unattractive demeanor, also physically unattractive.

Although he went through medical school, Roy eschewed that to write a first novel, which became popular. Almost too popular, because for years he has struggled to finish his second novel. And when he finally does finish it? Let's just say that this artist needs a new focus while publishers read his work.

Distractions are, in fact, everywhere in "You Will Meet a Tall Dark Stranger." The trouble is, they usually involve the other sex. Roy flirts with Dia (Freida Pinto), a pretty young woman who lives across the way. Meanwhile, Sally slides away from Roy and starts her own flirtation with Greg (Antonio Banderas). And trouble brews.

What's curious about "Stranger" is how it overlooks its greatest star--London itself. There's no real sense of place in this movie--parts of it feel as if it could have been filmed in any big city, which is a waste considering the city at hand. And while the performances are good, the movie fails to live up to the promise of its initial scenes involving loopy Helena. Given her initial quirky presence in the film, which sends it nicely off balance, Allen appears to be setting audiences up for a mad comedy.

But that's not what this is. Instead, we get a movie filled with promise, a few good laughs, your typical Allen neuroses--but no lasting bite.

Grade: C+

“You Will Meet a Tall Dark Stranger”

DVD, Blu-Ray Movie Review

Directed by Woody Allen, Written by Woody Allen, 102 minutes, Rated R.

By Christopher Smith

Now that's he's a confirmed cinematic expatriate (all but one of his last six films have taken place in Europe, and his next film, "Midnight in Paris," takes place in that city,) Woody Allen follows his last film, the New York stinker "Whatever Works," with a better movie set in London.

Since 2005, two great films have come from Allen while shooting abroad--the terrific "Match Point" and the Academy Award-winning "Vicky Cristina Barcelona." "You Will Meet a Tall Dark Stranger" is a slighter work, but it's a modestly good time, if only because so many of its characters are such a hot mess.

Let's just lay it on the line--they are in such a state of disrepair, if you've ever considered therapy, which is the one thread that runs throughout so many of Allen's movies, watching this movie might quell the desire. Almost everyone here is a wreck.

It all begins with boozy Helena (Gemma Jones), who is dumped by her longtime husband, Alfie (Anthony Hopkins, reminding us after a long period of commercial films that he can act), who is having something of a mid-life crisis. He works out incessantly, he jogs, he bikes, but since poor Helena can't keep up with him, he leaves her. What's the poor thing to do, especially since now that Alfie has shacked up with Charmaine (Lucy Punch), the prostitute he's fallen madly in love with?

The answer rests with Helena's daughter, Sally (Naomi Watts), who hooks her up with a faux psychic hauled in to lift Helena up with a handful of lies and deep reservoirs of Scotch. Her job is to convince Helena that her life isn't over. And it works, so much so that Helena starts to see promise in the world, even though her contentious relationship with Sally's husband, Roy (Josh Brolin), hardly makes for a happy family.

About Roy. This is the first film in which Brolin actually looks like the real-life Brolin. Recently, I found myself standing next to him at a Vegas restroom at the Wynn Hotel. His body is oddly thick and truncated, almost dwarfish, which doesn't come through in his other movies, but which Allen emphasizes here in ways that make Roy, who has an unattractive demeanor, also physically unattractive.

Although he went through medical school, Roy eschewed that to write a first novel, which became popular. Almost too popular, because for years he has struggled to finish his second novel. And when he finally does finish it? Let's just say that this artist needs a new focus while publishers read his work.

Distractions are, in fact, everywhere in "You Will Meet a Tall Dark Stranger." The trouble is, they usually involve the other sex. Roy flirts with Dia (Freida Pinto), a pretty young woman who lives across the way. Meanwhile, Sally slides away from Roy and starts her own flirtation with Greg (Antonio Banderas). And trouble brews.

What's curious about "Stranger" is how it overlooks its greatest star--London itself. There's no real sense of place in this movie--parts of it feel as if it could have been filmed in any big city, which is a waste considering the city at hand. And while the performances are good, the movie fails to live up to the promise of its initial scenes involving loopy Helena. Given her initial quirky presence in the film, which sends it nicely off balance, Allen appears to be setting audiences up for a mad comedy.

But that's not what this is. Instead, we get a movie filled with promise, a few good laughs, your typical Allen neuroses--but no lasting bite.

Grade: C+

“Big Mommas: Like Father, Like Son”

Movie Review

Directed by John Whitesell, Written by Don Rhymer and Matthew Fogel, 107 minutes, Rated PG-13.

By our guest blogger, Matt Schimkowitz

Given how lazy the film is, I imagine the production of "Big Mommas: Like Father, Like Son" looked something like this: Roughly two weeks ago, Don Rhymer and Matthew Fogel got together to pen what would become the second sequel in the “Big Momma’s House” franchise. Several hours after completing their first draft, they approached director John Whitesell and producer/star Martin Lawrence, and a week and a half later, “Big Mommas: Life Father, Like Son” hit the silver screen.

Upon hearing of its existence, you may ask, “Why is this happening to me? Are we, as a species, deserving of such a condescending display of unfunny grunts and errors?” Believe me, this feeling only intensifies during the film's unforgivable one-hour-and-forty-seven-minute runtime -- pushing the total number of hours spent with Big Momma dangerously close to six.


“Big Mommas: Like Father, Like Son” is a terrible film. The writing is lazy, the performances range from the bored to the patronizing, and the humor is redundant – especially if you stayed awake through the last two films.

FBI agent Malcolm aka Big Momma (Martin Lawrence) and his rapper son, Trent (Brandon T. Jackson, a “Tropic Thunder” alum who should know better), head to an all-girls school in search of a Flash Drive that contains some key evidence for Malcolm’s case. So, once again, they must go under deep cover as Big Momma and her rapping niece Charmaine. Together, they search the campus, help their sisters and fellow divas, and make constant reference to their additional chromosome, which their classmates, apparently, are too stupid to notice.

What Malcolm and Trent are actually looking for plays almost no role in the plot. Rhymer, Fogel and Whitesell breeze over details, in lieu of cheap jokes and bad puns (“That’s why they call it the nutcracker”). Lawrence reduces his famed multi-character humor to a series of grunts and growls, while Jackson follows the “Masculine voice—‘I mean’—feminine voice” template.

Nothing really works here. The action, jokes, and plotting are too slow to provide anything close to resembling entertainment. You will leave the film with a sinking feeling in the pit of your stomach, wondering whether you should ever go to the movies again. Don’t worry, this feeling is quite normal -- It means you’re still a sane, rational being. I wish more could be said for “Big Mommas.” Its brash, unfunny humor should be avoided at all costs.

Grade: F

“Big Mommas: Like Father, Like Son”

Movie Review

Directed by John Whitesell, Written by Don Rhymer and Matthew Fogel, 107 minutes, Rated PG-13.

By our guest blogger, Matt Schimkowitz

Given how lazy the film is, I imagine the production of "Big Mommas: Like Father, Like Son" looked something like this: Roughly two weeks ago, Don Rhymer and Matthew Fogel got together to pen what would become the second sequel in the “Big Momma’s House” franchise. Several hours after completing their first draft, they approached director John Whitesell and producer/star Martin Lawrence, and a week and a half later, “Big Mommas: Life Father, Like Son” hit the silver screen.

Upon hearing of its existence, you may ask, “Why is this happening to me? Are we, as a species, deserving of such a condescending display of unfunny grunts and errors?” Believe me, this feeling only intensifies during the film's unforgivable one-hour-and-forty-seven-minute runtime -- pushing the total number of hours spent with Big Momma dangerously close to six.


“Big Mommas: Like Father, Like Son” is a terrible film. The writing is lazy, the performances range from the bored to the patronizing, and the humor is redundant – especially if you stayed awake through the last two films.

FBI agent Malcolm aka Big Momma (Martin Lawrence) and his rapper son, Trent (Brandon T. Jackson, a “Tropic Thunder” alum who should know better), head to an all-girls school in search of a Flash Drive that contains some key evidence for Malcolm’s case. So, once again, they must go under deep cover as Big Momma and her rapping niece Charmaine. Together, they search the campus, help their sisters and fellow divas, and make constant reference to their additional chromosome, which their classmates, apparently, are too stupid to notice.

What Malcolm and Trent are actually looking for plays almost no role in the plot. Rhymer, Fogel and Whitesell breeze over details, in lieu of cheap jokes and bad puns (“That’s why they call it the nutcracker”). Lawrence reduces his famed multi-character humor to a series of grunts and growls, while Jackson follows the “Masculine voice—‘I mean’—feminine voice” template.

Nothing really works here. The action, jokes, and plotting are too slow to provide anything close to resembling entertainment. You will leave the film with a sinking feeling in the pit of your stomach, wondering whether you should ever go to the movies again. Don’t worry, this feeling is quite normal -- It means you’re still a sane, rational being. I wish more could be said for “Big Mommas.” Its brash, unfunny humor should be avoided at all costs.

Grade: F

“Just Go with It”

Movie Review

Directed by Dennis Dugan, Allan Loeb (screenplay), Timothy Dowling (screenplay), I.A.L. Diamond (screenplay "Cactus Flower"), Abe Burrows (stage play), Pierre Barillet (French play), and Jean-Pierre Grédy (French play), 116 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

“Just Go with It” is a screwball comedy gone horribly awry. Weighed down by bad jokes, bland performances and loose directing, Sandler’s latest is an exhausting exercise in patience as it meanders towards its obvious ending. Everything about “Just Go with It” is so hastily slopped together that it works better as Sandler’s Hawaiian vacation video than a narrative film.

The film begins in the mid-'80s, on the wedding day of a big nosed, cuckolded cardiologist named Danny Maccabee (Adam Sandler). After overhearing his wife’s thoughts on Danny and her gentleman caller, Danny calls off the wedding and heads to the bar. Unbeknownst to Danny, his unused wedding ring blessing in disguise and begins to use it to his advantage, picking up young, attractive women with stories of a failed marriage.

Fast forward 20 years, Danny gives up on the heart and becomes a plastic surgeon. He’s still a womanizer until he meets Palmer (Brooklyn Decker), a 23-year-old teacher with whom he shares an actual connection.

Danny avoids his normal tricks with Palmer, but old habits die hard -- Palmer finds Danny’s fake wedding ring. So he does what any sane person would do: Lie. He tells Palmer he’s close to finalizing the divorce, but before he does, Palmer wants to meet his wife.

Enter Danny’s longtime assistant Kathryn (Jennifer Aniston). Danny convinces Kathryn to pose as his horrid wife and bribes her children with a trip to Hawaii to keep their mouth shut and play along. So, the lot of them packs up for the island, as Danny helps them tip-toe around his lie.

The film's plotting is necessarily busy, as these types of comedies tend to be. But rather than take on the quick wit and charm of a Cary Grant comedy – which the film openly mocks – it’s slow, brash humor drags its feet across the plot. By the time Dave Matthews lifts coconut with his butt and attempts to feed it to Nicole Kidman, what remains of your intelligence will promptly check out.

Sandler’s tricks still work, but only with a certain amount of energy, which is largely absent. Out are the surreal outbursts and absurd characters of Sandler’s better work, and in are jokes about facial hair.

The screwball comedy works as a balancing act, invigorated by a tipping of the scale. Yet, “Just Go with It” is so weightless that it’s more likely that you and the other silent theatergoers will do anything other than go with it.

Grade: D

“Just Go with It”

Movie Review

Directed by Dennis Dugan, Allan Loeb (screenplay), Timothy Dowling (screenplay), I.A.L. Diamond (screenplay "Cactus Flower"), Abe Burrows (stage play), Pierre Barillet (French play), and Jean-Pierre Grédy (French play), 116 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

“Just Go with It” is a screwball comedy gone horribly awry. Weighed down by bad jokes, bland performances and loose directing, Sandler’s latest is an exhausting exercise in patience as it meanders towards its obvious ending. Everything about “Just Go with It” is so hastily slopped together that it works better as Sandler’s Hawaiian vacation video than a narrative film.

The film begins in the mid-'80s, on the wedding day of a big nosed, cuckolded cardiologist named Danny Maccabee (Adam Sandler). After overhearing his wife’s thoughts on Danny and her gentleman caller, Danny calls off the wedding and heads to the bar. Unbeknownst to Danny, his unused wedding ring blessing in disguise and begins to use it to his advantage, picking up young, attractive women with stories of a failed marriage.

Fast forward 20 years, Danny gives up on the heart and becomes a plastic surgeon. He’s still a womanizer until he meets Palmer (Brooklyn Decker), a 23-year-old teacher with whom he shares an actual connection.

Danny avoids his normal tricks with Palmer, but old habits die hard -- Palmer finds Danny’s fake wedding ring. So he does what any sane person would do: Lie. He tells Palmer he’s close to finalizing the divorce, but before he does, Palmer wants to meet his wife.

Enter Danny’s longtime assistant Kathryn (Jennifer Aniston). Danny convinces Kathryn to pose as his horrid wife and bribes her children with a trip to Hawaii to keep their mouth shut and play along. So, the lot of them packs up for the island, as Danny helps them tip-toe around his lie.

The film's plotting is necessarily busy, as these types of comedies tend to be. But rather than take on the quick wit and charm of a Cary Grant comedy – which the film openly mocks – it’s slow, brash humor drags its feet across the plot. By the time Dave Matthews lifts coconut with his butt and attempts to feed it to Nicole Kidman, what remains of your intelligence will promptly check out.

Sandler’s tricks still work, but only with a certain amount of energy, which is largely absent. Out are the surreal outbursts and absurd characters of Sandler’s better work, and in are jokes about facial hair.

The screwball comedy works as a balancing act, invigorated by a tipping of the scale. Yet, “Just Go with It” is so weightless that it’s more likely that you and the other silent theatergoers will do anything other than go with it.

Grade: D

“10”

DVD, Blu-ray Movie Review

By our guest blogger, Matthew Schimkowitz

Can a mid-life crisis be fun? Educational? Sexy? Well, in Blake Edwards’ comedy, “10,” just out on Blu-ray disc, the director answers the question with a resounding, “No.”

Mired by a pretentious script and some sloppy editing, “10” goes through a bit of a mid-life crisis itself, indulging in some bad psychology and crotchety characters. Edwards takes all of Woody Allen’s worst characteristics -- and none of the charm -- and infuses them into a boring story about unlikable guy.

Dudley Moore stars as George Webber, a composer and pianist who undergoes a mid-life crisis on his 42nd birthday. Unable to pull himself out of this rut, Webber turns to drinking and womanizing, which sours his relationship with his singer girlfriend, the intelligent Samantha Taylor (Julie Andrews). So to fix his tattered life, Webber overcompensates and begins chasing a 23-year-old version of Andrews named Janey Hanley (Bo Derek).

Webber’s search for Hanley leaves him physically broken, as he faces dentists, police officers, bees, and gravity to reach her. Eventually, he finds himself in Mexico, where all of his supposed dreams are about to come true.

However, George Webber is better off alone. Moore spends the film complaining about a world that’s past him by, but he makes no effort to understand it. This stubbornness and verbose pretense make him so obnoxious. His overly intellectual demeanor and frumpy physique may resemble Woody Allen, but where as Allen’s issues and insecurities warrant our sympathies, Webber’s do not. For a rich composer dating the beautiful Julie Andrews, he comes off like a spoiled brat.

Because we’re unable to side with Webber, it’s difficult to engage with Edwards’ lengthy narrative. The director amplifies this problem with needlessly long takes and awkward cuts. By the time Webber actually reaches act two, 45-minutes into the film, you’ll wonder why it took him so long to get there, and how little we’ve actually learned.

“10”’s bland structure wouldn’t seem so taxing had the material been stronger. Moore and Andrews argue endlessly without punchlines or economy. Instead, scenes drag, jokes repeat, and Moore stumbles up a hill. Moore, Andrews and Derek have chemistry and give solid performances -- it's the script that fails them.

Most remember “10” for the image of Bo Derek running across a Mexican beach, her hair beaded, and waves crashing behind her. It’s an image that hangs in dorm rooms around the world, and it’s infinitely more interesting than any of the two-hours you’ll spend with George Webber. She and the cast are a 10. 

Unfortunately, the film is more of a six.

Grade: D

“10”

DVD, Blu-ray Movie Review

By our guest blogger, Matthew Schimkowitz

Can a mid-life crisis be fun? Educational? Sexy? Well, in Blake Edwards’ comedy, “10,” just out on Blu-ray disc, the director answers the question with a resounding, “No.”

Mired by a pretentious script and some sloppy editing, “10” goes through a bit of a mid-life crisis itself, indulging in some bad psychology and crotchety characters. Edwards takes all of Woody Allen’s worst characteristics -- and none of the charm -- and infuses them into a boring story about unlikable guy.

Dudley Moore stars as George Webber, a composer and pianist who undergoes a mid-life crisis on his 42nd birthday. Unable to pull himself out of this rut, Webber turns to drinking and womanizing, which sours his relationship with his singer girlfriend, the intelligent Samantha Taylor (Julie Andrews). So to fix his tattered life, Webber overcompensates and begins chasing a 23-year-old version of Andrews named Janey Hanley (Bo Derek).

Webber’s search for Hanley leaves him physically broken, as he faces dentists, police officers, bees, and gravity to reach her. Eventually, he finds himself in Mexico, where all of his supposed dreams are about to come true.

However, George Webber is better off alone. Moore spends the film complaining about a world that’s past him by, but he makes no effort to understand it. This stubbornness and verbose pretense make him so obnoxious. His overly intellectual demeanor and frumpy physique may resemble Woody Allen, but where as Allen’s issues and insecurities warrant our sympathies, Webber’s do not. For a rich composer dating the beautiful Julie Andrews, he comes off like a spoiled brat.

Because we’re unable to side with Webber, it’s difficult to engage with Edwards’ lengthy narrative. The director amplifies this problem with needlessly long takes and awkward cuts. By the time Webber actually reaches act two, 45-minutes into the film, you’ll wonder why it took him so long to get there, and how little we’ve actually learned.

“10”’s bland structure wouldn’t seem so taxing had the material been stronger. Moore and Andrews argue endlessly without punchlines or economy. Instead, scenes drag, jokes repeat, and Moore stumbles up a hill. Moore, Andrews and Derek have chemistry and give solid performances -- it's the script that fails them.

Most remember “10” for the image of Bo Derek running across a Mexican beach, her hair beaded, and waves crashing behind her. It’s an image that hangs in dorm rooms around the world, and it’s infinitely more interesting than any of the two-hours you’ll spend with George Webber. She and the cast are a 10. 

Unfortunately, the film is more of a six.

Grade: D

"Broadcast News"

DVD, Blu-Ray Movie Review

Directed by James L. Brooks, Written by James L. Brooks, 133 Minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

In "Broadcast News," Albert Brooks, Holly Hunter and William Hurt add subtle and realistic dimensions to their characters, giving life to James L. Brooks' complex and fascinating characters.

Jane (Holly Hunter), an idealistic and talented news producer, fears the downfall of her medium. As honest reporting takes a backseat to human interest stories, she and her field reporter and best friend Aaron (Albert Brooks) strive to produce news that is real and respectable. They love their job but fear its fading integrity.

Enter Tom, the new network anchor. Tom is everything Jane and Aaron hate.  He's good looking, uneducated and exactly what their network has been looking for. However, since Jane is the best producer in the business, her bosses pair her up with him. Soon, their rocky partnership turns to attraction, and Tom and Jane's close working relationship bring them together, while their idea of what is newsworthy keeps them apart.

Brooks populates his film with real people with real problems. Jane, Aaron and Tom have fears, insecurities and dreams, all of which they are freely allowed to express. This makes the film funny and tragic, often in the same scene. James L. Brooks nicely balances this emotional split, and his cast is more than able to bear the weight.

The three leads fill the newsroom remarkably well. John Hurt's airhead news anchor is fantastic. He plays the guy who has it all without coming off as unsavory. Surprisingly, Tom's vulnerable naïveté and honest demeanor make him easy to like. Opposite Tom is Albert Brooks' neurotic field reporter Aaron, who is a funny nemesis to Tom and a source of warmth and pain to Jane. Balancing humor and sorrow, Aaron uses sarcasm as a defense mechanism.

This leaves Holly Hunter's Jane. Hunter creates a character with so much history that it is impossible not to love her. She's afraid of success, love and being wrong, and these emotional ticks give her pathos. The quick cuts to Hunter crying at her desk offer a funny juxtaposition and open the character to the audience. Jane has been hurt by the world, and Hunter does not hide it.

"Broadcast News" is a fantastic film filled with strong characters, performances and writing. Brooks hits his comedic and dramatic beats right on cue. He orchestrates a complex production with a more than able cast. The script and characters, as Tom would say, "sell it" -- they make you care about the story.

Grade: A

"Broadcast News"

DVD, Blu-Ray Movie Review

Directed by James L. Brooks, Written by James L. Brooks, 133 Minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

In "Broadcast News," Albert Brooks, Holly Hunter and William Hurt add subtle and realistic dimensions to their characters, giving life to James L. Brooks' complex and fascinating characters.

Jane (Holly Hunter), an idealistic and talented news producer, fears the downfall of her medium. As honest reporting takes a backseat to human interest stories, she and her field reporter and best friend Aaron (Albert Brooks) strive to produce news that is real and respectable. They love their job but fear its fading integrity.

Enter Tom, the new network anchor. Tom is everything Jane and Aaron hate.  He's good looking, uneducated and exactly what their network has been looking for. However, since Jane is the best producer in the business, her bosses pair her up with him. Soon, their rocky partnership turns to attraction, and Tom and Jane's close working relationship bring them together, while their idea of what is newsworthy keeps them apart.

Brooks populates his film with real people with real problems. Jane, Aaron and Tom have fears, insecurities and dreams, all of which they are freely allowed to express. This makes the film funny and tragic, often in the same scene. James L. Brooks nicely balances this emotional split, and his cast is more than able to bear the weight.

The three leads fill the newsroom remarkably well. John Hurt's airhead news anchor is fantastic. He plays the guy who has it all without coming off as unsavory. Surprisingly, Tom's vulnerable naïveté and honest demeanor make him easy to like. Opposite Tom is Albert Brooks' neurotic field reporter Aaron, who is a funny nemesis to Tom and a source of warmth and pain to Jane. Balancing humor and sorrow, Aaron uses sarcasm as a defense mechanism.

This leaves Holly Hunter's Jane. Hunter creates a character with so much history that it is impossible not to love her. She's afraid of success, love and being wrong, and these emotional ticks give her pathos. The quick cuts to Hunter crying at her desk offer a funny juxtaposition and open the character to the audience. Jane has been hurt by the world, and Hunter does not hide it.

"Broadcast News" is a fantastic film filled with strong characters, performances and writing. Brooks hits his comedic and dramatic beats right on cue. He orchestrates a complex production with a more than able cast. The script and characters, as Tom would say, "sell it" -- they make you care about the story.

Grade: A

"No Strings Attached"

Movie Review

Directed by Ivan Reitman, Written by Elizabeth Meriwether and Michael Samonek, 110 minutes, Rated R

By our guest blogger, Matthew Schimkowitz

Like most relationships, "No Strings Attached" isn't perfect. The script is clumsy; its leads have little chemistry; and the whole production feels rushed -- probably to beat the flood of "Friends-with-benefits" comedies due out this year. So, almost as a preemptive measure, director Ivan Reitman populated his film with a likable and funny supporting cast, which raises "No Strings Attached" to tolerable levels.

After 15 years as acquaintances, Emma (Natalie Portman) and Adam (Ashton Kutcher) give into their long-gestating attraction but lay down some ground rules for the "relationship." You see, Emma isn't the relationship type, so to keep things from getting complicated, they naturally decide to complicate things--Emma and Paul will be together, but not together. From here, Paul and Emma navigate the messy world of being friends with benefits.

Things get off to a painfully slow start. Kutcher and Portman appear genuinely nervous on screen -- and not in a good way. Their performances in the first act are wooden, and since they're having such a hard time relaxing, it makes it difficult to connect with the plot. They simply don’t have any chemistry together, which makes their romance unconvincing.

While Emma and Paul struggle to connect, the peripheral characters get along well and, even with such a boring premise, they make the film worth watching. Mindy Kaling steals the show as Emma's friend, Shira, and her hilarious delivery makes up for Kutcher's cold stares. Likewise, the great Kevin Kline pops up as Paul's pot-smoking, womanizing father.

Reitman was smart to give the cast room to breathe. Paul and Emma's romance can't really handle anything more than the superficial will-they-or-won't-they storyline, so when Kaling or Ludacris get the chance to guide a scene, things work like a charm. They lock you into the story even if it's not an entirely convincing one.

The supporting cast does their job, but it isn’t enough to save Emma and Adam. Their relationship is DOA from the start, so as the credits roll, you can breathe a sigh of relief to no longer be entangled in it.

Paul and Emma's romance, as they keep stating, never really started, so they don't really have much to do. At two hours, Reitman stretches their tired situation far too thin. The hilarious supporting players keep things moving when the director stumbles, but "No Strings Attached" lacks the emotional core that would make it memorable.

Grade: C+

"No Strings Attached"

Movie Review

Directed by Ivan Reitman, Written by Elizabeth Meriwether and Michael Samonek, 110 minutes, Rated R

By our guest blogger, Matthew Schimkowitz

Like most relationships, "No Strings Attached" isn't perfect. The script is clumsy; its leads have little chemistry; and the whole production feels rushed -- probably to beat the flood of "Friends-with-benefits" comedies due out this year. So, almost as a preemptive measure, director Ivan Reitman populated his film with a likable and funny supporting cast, which raises "No Strings Attached" to tolerable levels.

After 15 years as acquaintances, Emma (Natalie Portman) and Adam (Ashton Kutcher) give into their long-gestating attraction but lay down some ground rules for the "relationship." You see, Emma isn't the relationship type, so to keep things from getting complicated, they naturally decide to complicate things--Emma and Paul will be together, but not together. From here, Paul and Emma navigate the messy world of being friends with benefits.

Things get off to a painfully slow start. Kutcher and Portman appear genuinely nervous on screen -- and not in a good way. Their performances in the first act are wooden, and since they're having such a hard time relaxing, it makes it difficult to connect with the plot. They simply don’t have any chemistry together, which makes their romance unconvincing.

While Emma and Paul struggle to connect, the peripheral characters get along well and, even with such a boring premise, they make the film worth watching. Mindy Kaling steals the show as Emma's friend, Shira, and her hilarious delivery makes up for Kutcher's cold stares. Likewise, the great Kevin Kline pops up as Paul's pot-smoking, womanizing father.

Reitman was smart to give the cast room to breathe. Paul and Emma's romance can't really handle anything more than the superficial will-they-or-won't-they storyline, so when Kaling or Ludacris get the chance to guide a scene, things work like a charm. They lock you into the story even if it's not an entirely convincing one.

The supporting cast does their job, but it isn’t enough to save Emma and Adam. Their relationship is DOA from the start, so as the credits roll, you can breathe a sigh of relief to no longer be entangled in it.

Paul and Emma's romance, as they keep stating, never really started, so they don't really have much to do. At two hours, Reitman stretches their tired situation far too thin. The hilarious supporting players keep things moving when the director stumbles, but "No Strings Attached" lacks the emotional core that would make it memorable.

Grade: C+

"The Dilemma"

Movie Review

Directed by Ron Howard, Written by Allan Loeb, 112-minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

Heavy on character and light on laughs, Ron Howard's "The Dilemma" is a mixed bag. In both tone and story, the film switches gears frequently, and as Howard struggles to find his comedic and dramatic focus, he leaves his star Vince Vaughn visibly confused. Things ware on slowly, with no end or jokes in sight, making this dilemma look more like an overlong ordeal.

On the eve of closing a major deal, Ronny (Vince Vaughn) discovers the wife of his best friend and partner, Nick (Kevin James), kissing another man. Concerned how his unstable friend will take the news, Ronny looks for proof in all the wrong places, as a rivalry with Nick's wife Genevieve (Wynonna Rider) compounds things.

As he acts more suspiciously, balancing all aspects of the lie, Ronny puts his deal and various relationships in turmoil, especially with his longtime girlfriend Beth (Jennifer Connelly).

Things complicate quickly as Allan Loeb's script gives Vaughn a lot to work with, yet none of it goes anywhere. Ronny's gambling addiction creates an unnecessary strain on his relationship and never gets the payoff such a characteristic requires. Instead, it's used as a simple plot device to get the characters to the film's anticlimactic conclusion.

Vaughn isn't sure how to handle these many character points. His focus is clear, but all of these changing characteristics baffle the actor. He spends much of the film stuttering lines, unsure how his character would react in these situations. Ronny's many faults never progress the plot, causing the pacing to falter as well.

Kevin James is just as uncertain. Nick literally remains clueless throughout the entire film, as he spends much of it working on cars. Other people talk about his problems, but Howard rarely gives James a chance to express them. These characters know there’s a problem, but they never actively try to solve it.

Rider, Connelly and surprisingly Channing Tatum are quite enjoyable, but that's due to their lack of material. They're allowed to play off the situation, while the others are bogged down in details.

Howard's comedic sensibilities just aren't as strong as his dramatic ones. He's equally unsure how to portray the film's goofier moments, so he clings to the more serious problems, like gambling. Likewise, he gives the film a dark look, unfitting of the generally lighthearted material.

Despite the talent on hand, "The Dilemma" can't commit to the simplicity of its premise. It's a shame, too--bro-mance is Vaughn's specialty, and he’s rarely allowed to play to that strength.

Grade: C-

"The Dilemma"

Movie Review

Directed by Ron Howard, Written by Allan Loeb, 112-minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

Heavy on character and light on laughs, Ron Howard's "The Dilemma" is a mixed bag. In both tone and story, the film switches gears frequently, and as Howard struggles to find his comedic and dramatic focus, he leaves his star Vince Vaughn visibly confused. Things ware on slowly, with no end or jokes in sight, making this dilemma look more like an overlong ordeal.

On the eve of closing a major deal, Ronny (Vince Vaughn) discovers the wife of his best friend and partner, Nick (Kevin James), kissing another man. Concerned how his unstable friend will take the news, Ronny looks for proof in all the wrong places, as a rivalry with Nick's wife Genevieve (Wynonna Rider) compounds things.

As he acts more suspiciously, balancing all aspects of the lie, Ronny puts his deal and various relationships in turmoil, especially with his longtime girlfriend Beth (Jennifer Connelly).

Things complicate quickly as Allan Loeb's script gives Vaughn a lot to work with, yet none of it goes anywhere. Ronny's gambling addiction creates an unnecessary strain on his relationship and never gets the payoff such a characteristic requires. Instead, it's used as a simple plot device to get the characters to the film's anticlimactic conclusion.

Vaughn isn't sure how to handle these many character points. His focus is clear, but all of these changing characteristics baffle the actor. He spends much of the film stuttering lines, unsure how his character would react in these situations. Ronny's many faults never progress the plot, causing the pacing to falter as well.

Kevin James is just as uncertain. Nick literally remains clueless throughout the entire film, as he spends much of it working on cars. Other people talk about his problems, but Howard rarely gives James a chance to express them. These characters know there’s a problem, but they never actively try to solve it.

Rider, Connelly and surprisingly Channing Tatum are quite enjoyable, but that's due to their lack of material. They're allowed to play off the situation, while the others are bogged down in details.

Howard's comedic sensibilities just aren't as strong as his dramatic ones. He's equally unsure how to portray the film's goofier moments, so he clings to the more serious problems, like gambling. Likewise, he gives the film a dark look, unfitting of the generally lighthearted material.

Despite the talent on hand, "The Dilemma" can't commit to the simplicity of its premise. It's a shame, too--bro-mance is Vaughn's specialty, and he’s rarely allowed to play to that strength.

Grade: C-

“Dinner for Schmucks”

DVD, Blu-ray Movie Review

Directed by Jay Roach, written by David Guion and Michael Handelman, 114 minutes, rated PG-13. 

By Christopher Smith

Jay Roach's “Dinner for Schmucks” is a riff on Francis Veber’s 1998 French film “Le Diner de Cons,” which is a funnier movie because it courts a more absurd and cutting sensibility.

It also is more satire than comedy, and as such, it enjoys the long leash of cruelty it allows itself, and it frequently lets go of that leash so the comic cruelty infused into the script can run wild.

Roach has a different approach.

Working from David Guion and Michael Handelman’s script, he creates a lighter film designed for the PG-13 set that is more winks and nods than it is knives in the back. The movie is designed to appeal to plenty, which at once neuters those moments when it really could have gone for the joke, but which allows it its widest possible audience.

Which do you think Hollywood wanted?

The film stars Paul Rudd as Tim, who essentially is a nice, reasonably successful financial analyst stuck on the six floor of his office complex. Here is where the average people toil. Here also is where Tim would rather flee. He knows that if he can somehow find his way to the seventh floor, where real success awaits, then doors would open wider for him elsewhere. You know, like at banks.

And then one day opportunity strikes. Someone from the seventh floor is fired, thus leaving one of the coveted offices empty. At a meeting, Tim finds a way to impress his boss (Bruce Greenwood), which leads to a dinner date with a catch--he must bring with him the biggest idiot he can find. The idea is that at dinner, those on the seventh floor--where looking down on people is a daily ritual--can toast their own superiority by having a good laugh at someone else’s expense.

Though he isn’t at all comfortable with the idea, Tim isn’t perfect and so he decides to go for it when he accidentally runs his car into Barry, a toothy taxidermist who takes dead mice and gives them new life by making clothes for them and posing them in ways that are quaint, almost pastoral. Though Tim’s girlfriend, Julie (Stephanie Szostak), is repelled by the idea of this dinner, circumstances conspire against Tim to stop it from happening, and after a disastrous day spent together, he and Barry are right in the middle of it. Cue the shenanigans.

Carell and Rudd are nicely paired here, with Carell managing the most difficult role with ease. In order to be believable as Barry, who means well and is a good man, Carell also must believe in this character himself, in spite of the sheer destruction Barry causes throughout the movie. If he lets the audience in with even a trace of a wink, the effect is spoiled. The gig is up. The movie ruined.
But he doesn’t. He remains in character throughout, and he guides the film through its looping string of absurdities, with Rudd essentially here to play it straight and keep up with his co-star.

Morality and ethics eventually take hold in ways that they never did in the original film, but not before unleashing three terrifying characters--an aggressive lass (Lucy Punch) who wields a whip and stalks Tim, an IRS agent (Zach Galifianakis) who apparently possesses mind control, and an artist (Jermaine Clement) who has--how to put this delicately?--interesting ways of creating his art.

“Dinner for Schmucks” isn’t the summer’s best comedy, but at this point in the season, when movies typically take a turn for the worse before better fare appears in the fall, it comes through with enough laughs to make it worth a look.

Grade: B-

View WeekinRewind.com's preview of "Dinner for Schmucks" below. What did you think of the movie?

“Dinner for Schmucks”

DVD, Blu-ray Movie Review

Directed by Jay Roach, written by David Guion and Michael Handelman, 114 minutes, rated PG-13. 

By Christopher Smith

Jay Roach's “Dinner for Schmucks” is a riff on Francis Veber’s 1998 French film “Le Diner de Cons,” which is a funnier movie because it courts a more absurd and cutting sensibility.

It also is more satire than comedy, and as such, it enjoys the long leash of cruelty it allows itself, and it frequently lets go of that leash so the comic cruelty infused into the script can run wild.

Roach has a different approach.

Working from David Guion and Michael Handelman’s script, he creates a lighter film designed for the PG-13 set that is more winks and nods than it is knives in the back. The movie is designed to appeal to plenty, which at once neuters those moments when it really could have gone for the joke, but which allows it its widest possible audience.

Which do you think Hollywood wanted?

The film stars Paul Rudd as Tim, who essentially is a nice, reasonably successful financial analyst stuck on the six floor of his office complex. Here is where the average people toil. Here also is where Tim would rather flee. He knows that if he can somehow find his way to the seventh floor, where real success awaits, then doors would open wider for him elsewhere. You know, like at banks.

And then one day opportunity strikes. Someone from the seventh floor is fired, thus leaving one of the coveted offices empty. At a meeting, Tim finds a way to impress his boss (Bruce Greenwood), which leads to a dinner date with a catch--he must bring with him the biggest idiot he can find. The idea is that at dinner, those on the seventh floor--where looking down on people is a daily ritual--can toast their own superiority by having a good laugh at someone else’s expense.

Though he isn’t at all comfortable with the idea, Tim isn’t perfect and so he decides to go for it when he accidentally runs his car into Barry, a toothy taxidermist who takes dead mice and gives them new life by making clothes for them and posing them in ways that are quaint, almost pastoral. Though Tim’s girlfriend, Julie (Stephanie Szostak), is repelled by the idea of this dinner, circumstances conspire against Tim to stop it from happening, and after a disastrous day spent together, he and Barry are right in the middle of it. Cue the shenanigans.

Carell and Rudd are nicely paired here, with Carell managing the most difficult role with ease. In order to be believable as Barry, who means well and is a good man, Carell also must believe in this character himself, in spite of the sheer destruction Barry causes throughout the movie. If he lets the audience in with even a trace of a wink, the effect is spoiled. The gig is up. The movie ruined.
But he doesn’t. He remains in character throughout, and he guides the film through its looping string of absurdities, with Rudd essentially here to play it straight and keep up with his co-star.

Morality and ethics eventually take hold in ways that they never did in the original film, but not before unleashing three terrifying characters--an aggressive lass (Lucy Punch) who wields a whip and stalks Tim, an IRS agent (Zach Galifianakis) who apparently possesses mind control, and an artist (Jermaine Clement) who has--how to put this delicately?--interesting ways of creating his art.

“Dinner for Schmucks” isn’t the summer’s best comedy, but at this point in the season, when movies typically take a turn for the worse before better fare appears in the fall, it comes through with enough laughs to make it worth a look.

Grade: B-

View WeekinRewind.com's preview of "Dinner for Schmucks" below. What did you think of the movie?

"Easy A"

DVD, Blu-ray Movie Review

Directed by Will Gluck, Written by Bert V. Royal, 92 Minutes, Rated PG-13

By our guest blogger, Rob Stammitti

"Easy A" is pretty much destined to join "Superbad," "Mean Girls," and, looking a bit further back, "10 Things I Hate About You," as a modern teen movie classic. Unbelievably sharp writing, excellent performances and a fine mix of lower-brow humor with clever dialogue and mature storytelling make it one of the most entertaining comedies of this year, as well as the past few.

In her first big lead role, Emma Stone plays Olive Penderghast, a whip-smart but invisible high school student who finds her life turned upside-down when she lies about sleeping with her friend Brandon in order to keep his homosexuality a secret to his bullying schoolmates. Rumors spread, and Olive gradually embraces her new reputation as a teenage floozy, but eventually the attention becomes less than flattering and more than just her reputation is at stake.

The film owes a lot to John Hughes--and at one point it outright says as much--it's very much a Hughes film for the modern audience, and in that respect it works extremely well. It has a great and varied cast of colorful characters and it manages to be timely without speaking too specifically toward its target demographic. There's pretty much something for anyone here. The film is also (very loosely) based on "The Scarlet Letter," which winds up being less an inspiration for the plot and more a source for one of the film's funniest gags wherein various characters mockingly refer to the 1995 adaptation of the novel starring Demi Moore.

Still, even with the references to Hawthorne, Hughes and various other teen movies, "Easy A" is incredibly refreshing in its clever and fluid plotting and solid balance of the self-aware quirky dialogue typical of a lot of recent comedies and more toned-down humor. Those who find fault in the dialogue of something like "Juno" will probably be impressed at how economically that writing style is used here.

But a lot of credit also has to go to Emma Stone, who, despite the wonderful supporting cast and solid writing, definitely carries the whole film. If anyone was unsure of her potential as a leading lady after her small but generally charming bits in "Superbad" and "Zombieland" will definitely be impressed by how well she carries herself here. It may be cliche to say it, but this is a starmaking role if there ever was one.

The rest of the cast ranges from good to excellent--Amanda Bynes does a sub-par Mandy Moore as Olive's super-Christian nemesis Marianne, but she does well enough. Thomas Hayden Church and Malcolm McDowell have very brief but amusing roles as faculty at Olive's school. Patricia Clarkson and Stanley Tucci completely steal the show, though, as Olive's eccentric but endlessly endearing parents, perhaps the film's most clear homage to Hughes, specifically his absurd adult characters.

Really, the film only falls short in its final act, where, pretty much inevitably, it's forced to bring its multiple plot strands together in a coherent manner, which results in a lot of rushing and shoddy characterization, a trait it shares with most of its ilk, especially "Mean Girls." A small price to pay, really, for a film that's otherwise so unbelievably enjoyable. For those into clever comedy, young or old, it's really not to be missed.

Grade: B+

"Easy A"

DVD, Blu-ray Movie Review

Directed by Will Gluck, Written by Bert V. Royal, 92 Minutes, Rated PG-13

By our guest blogger, Rob Stammitti

"Easy A" is pretty much destined to join "Superbad," "Mean Girls," and, looking a bit further back, "10 Things I Hate About You," as a modern teen movie classic. Unbelievably sharp writing, excellent performances and a fine mix of lower-brow humor with clever dialogue and mature storytelling make it one of the most entertaining comedies of this year, as well as the past few.

In her first big lead role, Emma Stone plays Olive Penderghast, a whip-smart but invisible high school student who finds her life turned upside-down when she lies about sleeping with her friend Brandon in order to keep his homosexuality a secret to his bullying schoolmates. Rumors spread, and Olive gradually embraces her new reputation as a teenage floozy, but eventually the attention becomes less than flattering and more than just her reputation is at stake.

The film owes a lot to John Hughes--and at one point it outright says as much--it's very much a Hughes film for the modern audience, and in that respect it works extremely well. It has a great and varied cast of colorful characters and it manages to be timely without speaking too specifically toward its target demographic. There's pretty much something for anyone here. The film is also (very loosely) based on "The Scarlet Letter," which winds up being less an inspiration for the plot and more a source for one of the film's funniest gags wherein various characters mockingly refer to the 1995 adaptation of the novel starring Demi Moore.

Still, even with the references to Hawthorne, Hughes and various other teen movies, "Easy A" is incredibly refreshing in its clever and fluid plotting and solid balance of the self-aware quirky dialogue typical of a lot of recent comedies and more toned-down humor. Those who find fault in the dialogue of something like "Juno" will probably be impressed at how economically that writing style is used here.

But a lot of credit also has to go to Emma Stone, who, despite the wonderful supporting cast and solid writing, definitely carries the whole film. If anyone was unsure of her potential as a leading lady after her small but generally charming bits in "Superbad" and "Zombieland" will definitely be impressed by how well she carries herself here. It may be cliche to say it, but this is a starmaking role if there ever was one.

The rest of the cast ranges from good to excellent--Amanda Bynes does a sub-par Mandy Moore as Olive's super-Christian nemesis Marianne, but she does well enough. Thomas Hayden Church and Malcolm McDowell have very brief but amusing roles as faculty at Olive's school. Patricia Clarkson and Stanley Tucci completely steal the show, though, as Olive's eccentric but endlessly endearing parents, perhaps the film's most clear homage to Hughes, specifically his absurd adult characters.

Really, the film only falls short in its final act, where, pretty much inevitably, it's forced to bring its multiple plot strands together in a coherent manner, which results in a lot of rushing and shoddy characterization, a trait it shares with most of its ilk, especially "Mean Girls." A small price to pay, really, for a film that's otherwise so unbelievably enjoyable. For those into clever comedy, young or old, it's really not to be missed.

Grade: B+

"Gulliver's Travels"

Movie Review

Directed by Rob Letterman, Joe Stillman, Nicolas Stoller, Jonathan Swift (Novel), Rated PG, 93-minutes.

By our guest blogger, Matthew Schimkowitz

Jack Black's abridged version of Jonathan Swift's famed epic fairs slightly better than other recent family adaptations. It's silly, sweet and occasionally funny -- not bad for a movie starring a guy who saves an entire city with his urine.

Black stars as Gulliver, a newspaper mailroom clerk, guitar hero junkie, and all around loser. Strugglng to better himself, he resolves on asking out the girl of his dreams (Amanda Peet), who also happens to be the paper's travel editor. However, while asking, he chickens out and steals an application for a writing assignment, which he takes on to impress her.

The location: The Bermuda Triangle.

On his first day at sea, a reverse whirlpool sucks Gulliver up and lands him on the asile of Lilliput, where he's captured by thousands of tiny people. Gulliver soon earns the respect of the island's populace and takes on the role of their protector, much to the dismay of the evil Edward Edwardian (Chris O’Dowd doing his best Will Ferrell).

Gulliver helps his friends defeat their enemies and learn self confidence and, of course, he learns a little about those things himself.

Black plays a good big fish out of water and uses his ageless goofiness to successful results. His brand of comedy isn't the smartest, but in a film as stupid as this, it works like a charm. Black's supporting cast, including Jason Segel and Emily Blunt, do an ample job keeping up as the proper Lilliput citizens.

Yet, while their charming idiocy gives the film energy, it starts fading as they cross the 60-minute mark. The appeal of a 100-foot tall Jack Black playing air guitar seems to collapse by the time he fights a giant robot.

Still, for a movie that could be 90-minutes of Jack Black farting hurricanes and blowing tiny people over, it's not terrible. Director Rob Letterman takes advantage of the concept without constantly sinking to the lowest common denominator – though, there are a few instances where he tiptoes across the boarder.

Black and company seem to make the most the material they have, adding moments of camp and sincerity where needed. It's rarely funny, but it's also not entirely offensive.

For all the family fluff that's in theaters right now, "Gulliver's Travels"’s willful stupidity makes for a nice change of pace -- even that change of pace is only average.

Grade: C

"Gulliver's Travels"

Movie Review

Directed by Rob Letterman, Joe Stillman, Nicolas Stoller, Jonathan Swift (Novel), Rated PG, 93-minutes.

By our guest blogger, Matthew Schimkowitz

Jack Black's abridged version of Jonathan Swift's famed epic fairs slightly better than other recent family adaptations. It's silly, sweet and occasionally funny -- not bad for a movie starring a guy who saves an entire city with his urine.

Black stars as Gulliver, a newspaper mailroom clerk, guitar hero junkie, and all around loser. Strugglng to better himself, he resolves on asking out the girl of his dreams (Amanda Peet), who also happens to be the paper's travel editor. However, while asking, he chickens out and steals an application for a writing assignment, which he takes on to impress her.

The location: The Bermuda Triangle.

On his first day at sea, a reverse whirlpool sucks Gulliver up and lands him on the asile of Lilliput, where he's captured by thousands of tiny people. Gulliver soon earns the respect of the island's populace and takes on the role of their protector, much to the dismay of the evil Edward Edwardian (Chris O’Dowd doing his best Will Ferrell).

Gulliver helps his friends defeat their enemies and learn self confidence and, of course, he learns a little about those things himself.

Black plays a good big fish out of water and uses his ageless goofiness to successful results. His brand of comedy isn't the smartest, but in a film as stupid as this, it works like a charm. Black's supporting cast, including Jason Segel and Emily Blunt, do an ample job keeping up as the proper Lilliput citizens.

Yet, while their charming idiocy gives the film energy, it starts fading as they cross the 60-minute mark. The appeal of a 100-foot tall Jack Black playing air guitar seems to collapse by the time he fights a giant robot.

Still, for a movie that could be 90-minutes of Jack Black farting hurricanes and blowing tiny people over, it's not terrible. Director Rob Letterman takes advantage of the concept without constantly sinking to the lowest common denominator – though, there are a few instances where he tiptoes across the boarder.

Black and company seem to make the most the material they have, adding moments of camp and sincerity where needed. It's rarely funny, but it's also not entirely offensive.

For all the family fluff that's in theaters right now, "Gulliver's Travels"’s willful stupidity makes for a nice change of pace -- even that change of pace is only average.

Grade: C