Movie Review: I Love You, Man

If comedy is an art, Paul Rudd and Jason Segel in “I Love You, Man” rank among Monet and Picasso. This film delivers laughs relentlessly, and while it’s not the most civilized production, it’s simultaneously clever and delightfully juvenile. Even in the opening credits, “I Love You, Man” reaches a level of hilarity that comedies of its kind work twice as hard to manage. It can easily take the title of best comedy so far this year.

The sheepishly charming Rudd plays Peter Klaven, an easygoing nice guy who proposes to his girlfriend Zooey (Rashida Jones, an alum of “The Office”). As the starry-eyed young couple prepares for the wedding, Peter realizes he has no close male friends. As his brother Robbie (Andy Samberg) points out, Peter has always been a “girlfriend guy.” Desperate to fill out his side of the wedding party, Peter embarks on a search for a best man. Along this amusing adventure, he discovers the cool and brazen Sydney Fife, played expertly by Segel of “How I Met Your Mother” and “Forgetting Sarah Marshall” fame. While the two click instantly, Zooey has her reservations about the new guy in her fiancee’s life. What follows can only be described as comedic genius.

Rudd shines as the painfully awkward but lovable Peter, and Segel brings to life the ridiculous slacker personified by Sydney. Beyond the stars, the supporting cast of “I Love You, Man” draws upon the talents of several members of today’s comedy A-team. J.K. Simmons, the sweet, defensive dad from “Juno,” reprises his parental role perfectly. Andy Samberg, best known for his infamous SNL skit with Justin Timberlake, plays an unconvincing yet entertaining gay personal trainer who dispenses well-meaning advice. Jaime Pressly of NBC’s “My Name Is Earl” is surprisingly funny and piercingly candid in her role as Zooey’s friend.

“I Love You, Man” is neither a romantic comedy nor a stereotypical guy movie. It patently refuses to be pigeonholed, and instead will make you laugh too hard to consider it. Bromance abounds, so be ready to either get in touch with your masculine side or simply laugh at the result of the masterful combination of two of comedy’s all-stars.

Although “I Love You, Man” is not the work of Judd Apatow (“Pineapple Express,” “The 40 Year Old Virgin”), it shares a similar feel. The jokes are quick and at times shocking, the characters are outrageous and relatable, and the laughs are endless. While there are similarities between this film and Apatow productions, “I Love You, Man” earns a spot at the top of the heap for its blithe excellence.

Grade: A

Movie Review: “He’s Just Not That Into You”

Never have men seemed so shallow or women so idiotic as in “He’s Just Not That Into You.” This attempt at romantic comedy falls desperately flat. For a film that wants so badly to be a lighthearted comedy, the laughs are manufactured and weak. Random pop culture references and platitudes pepper this movie like a minefield, leaving viewers stone-faced.

Several different characters are shown here in various relationships, and bizarrely collide by the end of the film. Gigi (Ginnifer Goodwin) is typecast as the desperate woman who sits by her phone for days waiting for that guy from the bar to call back. This empty portrayal is enough to garner disgust from women everywhere. She’s shown as a sad, immature woman who has nothing better to do than to wait for Mr. Right.

Then there’s Beth (Jennifer Anniston) who is in a long-term relationship with Neil (Ben Affleck), who refuses to walk down the aisle. Beth is the stereotypical woman longing to drag her man to the altar. Jump to Ben (Bradley Cooper) and Janine (Jennifer Connelly), who are unhappily married and yet avoid addressing the obvious. Believe it or not, Ben is led astray by a blonde bombshell in the form of Anna (Scarlett Johansson). This collaboration of boring, typical connections is nothing that hasn’t been seen or done before.

“He’s Just Not That Into You” is derived from a book by the same name, written by Greg Behrendt and Liz Tuccillo. The basic premise of this book is to educate women on the fact that men are dishonest jerks who seek to take advantage of them or break their hearts. Somehow, this man has managed to not only make a killing with his mind-numbing book but also capitalize on it by making it a “Sex and the City” catchphrase and subsequently bringing it to the big screen. The byproduct of this is a sad excuse for a romantic comedy.

The cast reads like a who’s who of Hollywood. Drew Barrymore and Justin Long are among the aforementioned A-listers seen here. This simply adds to the mystery of why this movie is such a catastrophe. Apparently no amount of talent could have kept it afloat. The flat script, forced humor, cliched situations and confused intertwining of the characters all add to this disparaging production.

Although it is disguised as a fun-loving date movie, “He’s Just Not That Into You” spends most of its hour-and-a-half running time overanalyzing simple encounters, patronizing and generalizing both sexes and placing stereotypes everywhere. The concept of love is sent through the shredder and comes out completely destroyed on the other side.  The movie vainly attempts to be touching and warm-hearted, but comes across as bitter and contrived.

If viewers check their brain at the door, they might enjoy this film. Otherwise, save your money and your dignity by skipping this mushy mess.

Grade: D

Feature: Global Warm-Up

Amidst a frenzy of silver coins and colorful veils is a group of belly dancers who will perform at the University of Maine’s fifth annual International Dance Festival on Saturday, Feb. 14. Leading the pack is Arletta Hayes, a fourth-year anthropology and dance student who has been belly dancing since high school.

“It’s the first kind of dance I could identify with; it’s built for a woman’s body,” Hayes said. She began her belly dancing hobby with instructional DVDs from Borders – she’s been captivated by the art ever since.

When Hayes gets onstage, she feels like a “different creature.” A powerful focus takes hold of Hayes as she performs, so much so that people have told her she appears “mean” while dancing. She prefers to call it “intense.”

Much detail goes into each of Hayes’ routines. The music comprising the background of her routines is an entrancing combination of Asian, “gypsy” and tribal fusion. Some of the tracks are chosen for their strange and creepy qualities. The selections must appeal to her personal taste and usually have heavy drum lines. Although upbeat, cabaret styles are more common for belly dancing, Hayes prefers deep, dark tracks for her performances.

Hayes fondly remembers The Basements, a group that performed at the International Dance Festival in previous years. The group was comprised of Indian and Nepalese students who practiced in basements and put together Bollywood-style dance routines. Hayes once had the chance to perform with them, playing the bride in an intricate performance.

For people who claim they can’t dance, Hayes has a few words of encouragement: “Anyone can dance. You can’t sit still and say you can’t dance. Everyone has potential.”

“Some people are less afraid to look silly. Put yourself out there,” said Janaya Millett, a graduate student who has been belly dancing for three years. As this dynamic group proves, dancing is all about breaking the rules.

This will be the second year Hayes has taken part in the International Dance Festival. She hopes audiences will enjoy the display of cultural diversity this Saturday. She believes that dance connects everyone and is as expressive emotionally as it is physically.

Dancing styles showcased this year will include hip-hop, Indian classical, African, Mongolian and Balkan, along with Hayes and her fellow belly dancers. There will be two shows – a matinee at 2 p.m. and an evening show at 7. The International Dance Festival will be held at the newly refurbished Collins Center for the Arts.

Movie Review: “Coraline”

First of all, “Coraline” has nothing to do with Tim Burton. It simply shares the same director, Henry Selick, as “The Nightmare Before Christmas.” Having said that, this movie is perfectly on par with the delightful creepiness of Burton’s works. Playing on “Alice In Wonderland” themes such as the mysterious rabbit hole, “Coraline” will leave you speechless and desperate to see it again to catch all the details as soon as the credits roll.

Coraline Jones, voiced by Dakota Fanning, is a spunky blue-haired girl, unhappy in her new home. She and her parents have recently moved from Oregon to Michigan. Coraline is ignored by her complacent parents and annoyed by her neighbor Wybie. Her bizarre neighbors offer no solace in this dull place. Desperate for adventure, she explores their dingy apartment and finds a small door leading to a tunnel to another world.

In this parallel universe, Coraline discovers parents resembling her own, but this mother cooks grand meals and dotes on her while the father is wonderfully wacky and plays piano. The garden that was once gray and dying now flourishes with fascinating flora. Her quirky neighbors now seem exciting and fabulous. But as Coraline revels in her newfound wonderland, she can’t help but notice a few strange details. For one, everyone in this new world has buttons where their eyes should be. While she finds the grass much greener on this side, she senses something sinister behind those eyes. With the help of a feral cat, Coraline discovers the evils lurking behind the facade of this seemingly ideal world.

Fanning breathes life into the character of this headstrong 11-year-old braving the unknown. Teri Hatcher, best known for her role in “Desperate Housewives,” shines as both versions of Coraline’s mother. The fantastically crafted animation aside, Hatcher’s voice adds a level of unexpected viciousness.

“Coraline” demands to be seen in 3D. Although there are few moments when something jumps off the screen, the detail brought to life is breathtaking. The images are so richly dimensional, it’s tempting to reach for a flower in the garden or grab a star from the sky.

“Coraline” may appeal to the grade-school set, but the majority of its content is dark and unsettling. This is not to say that children won’t enjoy themselves, but it’s not necessarily the best movie to watch before bed. Coming from a college student who has seen more than her share of horror movies, this PG-rated tale is more terrifying than the lot of them. Yet somehow it manages to be charming and whimsical at the same time.

The tagline reminds us to “be careful what you wish for,” made clear by Coraline’s misadventure. Perhaps it should be shown to bratty, ungrateful children so they will begin to appreciate their “boring” parents. In any case, as the first full-length stop-motion animation film of its kind, “Coraline” sets a precedent and will, by turns, surprise and disturb you.

Grade: A

Movie Review: “Four Christmases”

Picture the idyllic Christmas, complete with fresh snowfall, cherished family moments and meaningful gifts. Now destroy that image because “Four Christmases” denounces the myth of a Merry Christmas once and for all. “Four Christmases” is rom-com gone wrong, as a very unhappy couple flits from one dysfunctional family gathering to the next without an iota of glee or cheer. Those who enjoy holiday movies overflowing with happy endings and sentiment, steer clear.

Brad (Vince Vaughn) and Kate (Reese Witherspoon) form the stereotypical jet-set metro couple, refusing to adhere to ancient social constructs like marriage and childrearing. They are too cool for rings and diapers, and as it turns out, they’re too cool for their own families. Each year as the holidays roll around, they come up with a far-fetched excuse to miss the family fetes.

But just as Brad and Kate are about to embark on yet another scuba-diving, massage-receiving, tropical holiday escape, bad weather sets in, preventing their plane from taking off. With a news camera catching the footage and broadcasting it live, they are faced with a fate worse than death – family time on Christmas. Sarcasm, headlocks, inappropriateness, a flashy nativity scene and hijinks ensue.

“Four Christmases” tries four times as hard as it should. With two A-listers in leading roles and Christmas right around the corner, success should be a given, but this film is more hollow than a Christmas bulb. Although Mary Steenburgen, as Kate’s flighty mother, and Robert Duvall, as Brad’s raucous father, provide a few laughs, they can’t keep the story afloat.

Vaughn’s usually amusing rants and tangents come off here as irritating immaturity. Witherspoon, who usually shines in these roles, offers little, save for a few slapstick, gross-out moments. Sparing full blame for this disparaging film on the actors, the dialogue leaves much to be desired. In the end, “Four Christmases” is a holiday version of the same old story that has been played out countless times in romantic comedies.

It seems that conceptually, this was meant to be an easygoing comedy to lighten up the holiday season and remind people why they avoid their families. But toward the conclusion, “Four Christmases” tries to pull off tenderheartedness and falls into mawkish awkwardness. At times, it’s hard to know whether to laugh for their sake or to feel uncomfortable.

To its credit, the plot delivers some decent laughs and may amuse a few undemanding moviegoers. Here is a film boasting the grown-up Ralphie (from “A Christmas Story,” Peter Billingsley) as producer, not to mention five Oscar-winning actors, the cute and funny Witherspoon and brash, quippy Vaughn in leading roles. And still, walking out of the theater is like waking up to a package of socks on Christmas morning – it just isn’t what you were hoping for. At least there’s always next year.

Grade: C

Vintage Movie Review: “A Christmas Story”

‘Tis the season to shoot your eye out, drop the f-bomb and show a bully who’s boss. At least that’s the lesson 1983’s “A Christmas Story” teaches us. In this crass flick, there are no sugary morals or emphasis on family values. It is Christmas, dressed down – way down. “A Christmas Story” is to the holidays what the creepy overweight uncle is to your family reunion: it makes people uncomfortable but without it, the holidays just wouldn’t be the same.
Click here for clips from “A Christmas Story”Set in northern Indiana in the 1940s, the flick follows the life of 9-year-old Ralphie Parker as he tries to convince his parents, teacher and even Santa that he deserves a Red Ryder BB gun for Christmas – to be precise, his dream gift is “an official Red Ryder carbine-action 200-shot range model BB rifle with a compass in the stock.” Unfortunately for Ralphie, this pursuit falls under the “easier said than done” category.

Jean Shepherd narrates as a reflective little Ralphie Parker and fittingly articulates the struggles and drama in the life of a young boy. Each time Ralphie expresses his desire for the Red Ryder rifle, he is met with the same adage: “You’ll shoot your eye out, kid!” With despair, Ralphie faces the possibility he may not receive the ultimate present on Christmas morning.

Sadly for Ralphie, but joyously for us, life doesn’t get much better from there. A snot-nosed, yellow-eyed bully is after him, cold flagpoles pose a threat, grumpy elves reign supreme and certain aunts should stay away from pink fabric and sewing machines.

Cable stations have taken to holding 24-hour marathons of this oddball, roundabout Christmas classic. Local stations won’t touch it. If you’ve seen it or decide to see it, you might just understand where they’re coming from. “A Christmas Story” pushes the proverbial envelope and then goes a little further. Here, little kids are not rosy-cheeked angels sipping hot chocolate and making snowmen – they are alternately idiotic and violent. Parents are not sweet and congenial – they’re angry and sexist. Santa isn’t jolly and welcoming; he’s bitter and irritable. Enjoy the ride.

It’s the kind of story that may not warm your heart, but will remind you of your own insane family. It might cause you to reminisce about a time when the quality of your life hinged on whether or not you got the Christmas present you were after. Even when Ralphie’s family attempts to follow the traditional model of a Christmas dinner, they fail epically. Just wait until you find out what a Chinese turkey is.

By the end of this film, you want Ralphie’s family to live happily ever after. You want Ralphie to get his BB gun, even if it turns out he could lose an eye. Take it from me, “A Christmas Story” is the ultimate must-see for Scrooges the world over. Grade: A-

Vintage Movie Review: “Breakfast at Tiffany’s”

Helen of Troy’s face may have launched 1,000 ships, but Audrey Hepburn’s in “Breakfast At Tiffany’s” launched the success of a jewelry store, a Deep Blue Something song and a dedicated following. Fifty years after the Truman Capote novella that inspired the Hollywood rendition, the film’s importance has not diminished a bit. The image of Hepburn’s famously fabulous up-do and heavy bling can still be found all over the pop culture scene. “Breakfast At Tiffany’s” will surprise, delight and entrance all of its viewers.

The story of a young woman finding her place in New York City may sound like a formulaic, trite plotline, but it is just the opposite. Audrey Hepburn plays Holly Golightly, a trendy party girl with a quirky attitude and unmistakable laugh. Her air of sophistication and elegance draws men in flocks, but Holly will have none of it. She is more interested in window-shopping in front of Tiffany’s, dreaming of one day receiving one of those robin’s-egg-blue boxes one day. It is this very scene that has become so legendary over the years.

When Holly meets a young man named Paul Varjak (George Peppard), they begin a friendship with palpable romantic undertones. Paul tries to help Holly survive the big city, but she seems to manage just fine, with raucous friends such as a notorious mob boss. As the story carries on like a melody, secrets about Paul and Holly emerge and alter their relationship.

1961’s “Breakfast At Tiffany’s” is romantic comedy at its best. The plot captures all the romance and turbulence of 1950s’ New York in a surprisingly delicate manner. Holly Golightly is reminiscent of Marilyn Monroe, whose public demeanor was so delightful and bubbly, while insecurity lingered beneath the surface. The parallels drawn between these two sides of Holly’ personality add another layer to the drama that makes it so unforgettable.

Apart from the hype and popularity of the film is its excellently selected cast. Among this cast are famous players such as Buddy Ebsen of the Beverly Hillbillies and the prominent Mickey Rooney. As wonderfully acted as it is shot, “Breakfast At Tiffany’s” will leave its viewers wishing movies today be held to the same standards. It’s as inimitable as Tiffany & Co. and twice as valuable as its wares.

“Breakfast At Tiffany’s” succeeded in creating its own niche in the archives. From the famous beginning to the memorable ending, it redefines the romantic genre. Its magic has been clumsily replicated hundreds of time in movies, but the original remains a zenith in the medium. In celebration of the half-century mark, rent “Breakfast At Tiffany’s” for the laughs, the drama, the romance and brain food for your film education.

Grade: A

Page

Vintage Movie Review: “Rosemary’s Baby” & “Children of the Corn”

It’s almost Halloween, and the college-aged community set is wondering how to enjoy the night, as trick-or-treating may be out of the question. Here’s an idea – pop in one of these old-school horror flicks, sit back, and enjoy.

When it comes to horror movies these days, gore is usually the name of the game. 1968’s “Rosemary’s Baby” breaks tradition by presenting horrifying sophistication. It will shock viewers to the core and give them the kind of chills that don’t come from a drafty window.

“Children of the Corn,” on the other hand, delivers a classic slasher vibe, complete with creepy devil-children in an abandoned small town.

In “Rosemary’s Baby,” a young married couple, Guy (John Cassavetes) and Rosemary Woodhouse (Mia Farrow), move into a new apartment. Although rumors of strange occurrences and ill will swirl around the building, they are optimistic and naiive, and they move in. Soon after settling in, they meet Roman and Minnie Castevet, a darling old couple. But, alas! Appearances can be deceiving.

When Rosemary becomes pregnant, the Castevets learn of it and join in the younger couple’s happiness, but suddenly become very involved. At first Rosemary is pleased by their friendly involvement, but as she starts to feel pain that won’t subside and is confined to her apartment, conspiracy theories fill her head. The viewer is left to decide whether this is the mental decline of an emotional woman or the twisted truth.

“Rosemary’s Baby” is a surprising, horrific gem of a movie. It’s a bit slow at times, but just when it gets the least bit mundane, it thrills and chills in unexpected ways.

“Children of the Corn” derived from a short story by Stephen King, is set in a small town where children rule and adults are nowhere to be found. It sounds like a reality television show, but there’s a more sinister side to the story. When a young couple arrives, they quickly notice the lack of anyone taller than 4-foot-6. They soon find the only two children who haven’t been roped in by the town’s psychotic child preacher and band together to survive.

Although children plus weapons plus creepy music usually equals a fright fest, “Children of the Corn” falls a little short. At times it is unnerving, but for the most part it fails to engage. The element of the corn field is excellently eerie, but more could have been done to elevate this story. For slasher enthusiasts, “Children of the Corn” may be the perfect choice, but it will not satisfy storyline snobs.

While “Rosemary’s Baby” is a frightening thrill ride from the unsettling opening to the climactic ending, “Children of the Corn” is an atmospherically satisfying flick that delivers a few scares here and there.

Grades: B/C

Vintage Movie Review: “Some Like It Hot”

With mafia men, sexual themes, violence and cross-dressing, “Some Like It Hot” is hardly the average film to come out of the black and white archives. After the film’s 1959 release, it was met with an Academy Award, a Golden Globe, numerous nominations and a snub from the Catholic Legion of Decency. The film relentlessly pushed the envelope, with uproariously hilarious results. Now almost 50 years old, “Some Like It Hot” still resonates with viewers and is undoubtedly one of the best comedic films ever made. In 2000, the American Film Institute ranked it as the greatest American comedy of all time.

Set in the turbulent 1920s, the plot focuses on two struggling musicians, Joe (Tony Curtis) and Jerry (Jack Lemmon) who witness what appears to be the St. Valentine’s Day Massacre. As witnesses to the mafia slayings, the men must flee the city to save themselves. Ever resourceful, they use their musical talents, some womens’ clothing and a couple of wigs to moonlight in a traveling all-girls band. It is here that the fabulous Marilyn Monroe makes her first appearance in the film as Sugar Kane Kowalczyk, attracting the attention of Joe – Josephine in drag. Hilarity ensues as Jerry – a.k.a. Daphne – catches the eye of a local billionaire and Joe struggles to maintain his female persona as he falls in love with the blonde bombshell.

“Some Like It Hot” hits home with its persistent one-liners and classic players. Marilyn Monroe has never been better, and the talented team of Jack Lemmon and Tony Curtis provides pure comedic gold. Typecast in a role she always played so well, Monroe shines as a demure and alluring dipsomaniac. With a flutter of her eyelashes and a well-heeled step, she cemented her role as the sex symbol of a century. As Curtis tries to lure Monroe with the facade of wealth, he adopts a hysterical Cary Grant accent that sounds more like a British Forrest Gump than the actor himself. Lemmon assumes the attitude and style of a ’20s female so convincingly that if it weren’t for the caked-on makeup and his masculine stature, it would be hard to tell otherwise.

Not only is “Some Like It Hot” fiercely funny, it’s suspenseful, action-packed and genuinely romantic. Not once during its two-hour running time does it seem drawn-out or slow-paced. Even the ending packs a punch that cinematic history will not soon forget. Nothing is perfect, but “Some Like It Hot” comes daringly close.

Grade: A

Movie Review: “30 Days of Night”

“30 Days of Night” is not your grandfather’s vampire movie. Teeming with gory special effects, “30 Days of Night” surpasses all the previous vampire flicks in almost every way. It steers away from the recent cinematic representations of vampires such as “Blade” and “Underworld.” Unfortunately, “30 Days” lacks the simple suspense and terror of the originals. Although this horror film is a welcome variation from the seemingly endless “Saw” sequels and overdone “Halloween” reprises, it fails to live up to its hype.

The premise of “30 Days of Night” derived from a graphic novel series by Steve Niles. The style of the graphic novel was integrated well in some of the scenes for a powerful effect. Also, the original camera angles add drama and suspense.

The story is set in a small town called Barrow, Alaska that sits at the northernmost point of the state. It is so far north that for 30 days during the winter, there is no sunlight. As the movie begins, the town is preparing for this seasonal event. Most of the town clears out to travel to lighter destinations for the month, but the hardcore dwellers remain.

Once darkness settles on Barrow, the disturbing creatures of the night reign. These revamped beings are a far cry from Count Dracula. With only their blood-lust in common, the modern vampires are fierce and ruthless. The inspiration for these vampires seems to draw from 1922’s “Nosferatu.” Although their black clothing and pointy teeth are nothing revolutionary, they seem to have developed their own murderous society that seems, in loose terms, civilized. Their wicked high-pitched screeches are chilling to the bone as they frantically attack their next victim, followed by gallons of bloodshed. Sadly, even the best vampires couldn’t save this movie.

Josh Hartnett delivers another bland and uninspiring performance as the town sheriff. In a role that could have been mildly stirring, Hartnett is a lackluster hero. Melissa George of “Alias” and “The Amityville Horror” attempts to shine in her role but does little to add interest to an already mediocre script. The few surviving characters are hardly memorable. Any decent performance offered by the surrounding cast is erased after their necks are torn up.

The countless scenes of splattering fluids and overdone gore detract from the simplicity of the classic blood-sucking creatures of the night. After leaving the movie, it is shocking to find that two hours of one’s life have been spent waiting for an abysmal movie to turn on its head and change course into an adequate film. Sadly, graphic novelist Steve Niles’ ingenious idea did not fit seamlessly onto the big screen. The concept of vampires inhabiting a town for 30 days of darkness while its citizens are hopeless to protect themselves sounds thrilling, but “30 Days of Night” only succeeded in sucking the life out of moviegoers. If straightforward, in-your-face gore and poor acting is for you, go see this movie. Otherwise, skip the gruesome flick and find a more worthwhile way to celebrate Halloween.

Grade: C-