Review: This is 40

             I really wanted to like This is 40. With Judd Apatow at the helm bringing back characters from what I believe is the best film he directed (Knocked Up), this seemed like a no-brainer hit. Couple that with the fact that that the stellar duo of Paul Rudd and Mrs. Apatow, Leslie Mann, were reunited on screen, there was no way This is 40 could falter, right? Wrong.

            This is 40 is marketed as a straight up comedy about the trials and tribulations of a middle-aged couple coping with the fact that the big 4-0 is finally a reality. However, the film plays out over two agonizingly long hours of Apatow letting go of some deep-rooted emotions that are the farthest thing from humorous. It reads like more of a therapy session, with the family unit (all Apatow’s, with Rudd in his place), venting their every last issue with one another amid an aimless plot. The pacing and arguing will wear you out, and the supposed jokes that one would expect from an Apatow production are so few and far between that they fail to bring light to an otherwise gray picture. I appreciate the realism of a married couple that is portrayed here, it’s just too much over far too long of a time for it to work. What starts off as a light-hearted foray into one family’s life is quickly clouded in a fog of depression. One would expect at least a bit of tenderness in a film about an every day family with every day struggles, but in place of romance there is only dysfunction.

            As to be expected, the bright spots in the film are Rudd and Mann, who do their best with the material and are as convincing as can be. Paul Rudd is nearly impossible to dislike, and his onscreen chemistry with Mann is undeniable. The two feel like a real couple, which makes the disorder that plays out in front of your eyes that much more uncomfortable. Albert Brooks and John Lithgow are superb in their supporting roles as the aloof and estranged fathers of the couple, and even Megan Fox does a great job flaunting her best assets to fit the part. On the whole, the acting in This is 40 is really quite excellent, it’s just a shame that the performances couldn’t have taken place in a more endearing piece. Melissa McCarthy provides what is without a doubt the funniest scene in the film, and her outtakes that play over the credits are worth a bigger percentage of the ticket price than the preceding two hours.

            At the end of the day, This is 40 is much more Funny People than it is Knocked Up, as it fails to find the balance between real life drama and escapist humor that Knocked Up hit so perfectly. I still trust Judd Apatow, and will still see almost anything with Paul Rudd’s name attached to it, but This is 40 is anything but what we’ve come to expect from their past collaborations.

Score: 2/5

Review: Les Misérables

I’m not afraid to admit that I enjoy musicals. I will say, though, that the only time I saw Les Misérables performed was when I was in 8^th grade on a school trip to watch the high school do it. Needless to say, watching Les Mis on the big screen was essentially my first introduction to the heart-wrenching characters and story given to us by Victor Hugo, and I’m kicking myself for not experiencing it earlier. This adaptation is beautiful in the ugliest, most perfect way possible, and should be the mold that future musical adaptations follow.

            The music at the core of the story is spot on thanks to one of the more daring directions in recent cinematic history from director Tom Hooper. The actors in the film were all required to sing their parts live as they acted, as opposed to being able to lip-synch to a shiny, studio-produced track with no soul. The tactic works so well that I’m not sure the film would be the same without it. Gone is the pitch-perfect, high-gloss soundtrack that adaptations like Rent gave us, and instead Les Misérables is colored by sweat, blood, and snot-stained singing that is never sonically perfect, but fits the story like a glove. It is deeply moving to watch the characters, all gritty and torn, sing from a place that only someone as dejected as they are could. Every actor in the film performed this way, whether a singer by trade or not, and nearly everyone met the challenge head on.

            Speaking of the actors, if Hugh Jackman and Anne Hathaway don’t receive any Oscar noms for their roles as Jean Valjean and Fantine respectively, a serious injustice will have occurred. These are two people who have proven their acting chops before, but neither has ever been able to affect me so deeply as they did here. Their tears seem to come from somewhere real, their singing (especially Hathaway’s I Dreamed a Dream, the film’s spotlight moment) consistently hits home, and their presence is magnetic. I truly can’t say enough positive things about their performances here, just know that Wolverine and Catwoman deserve any and all praise that they receive. The surrounding cast of characters is great as well, and although singing obviously isn’t Russell Crowe’s forte, his looming presence is enough to make up for it. It should also be noted that film newcomer Samantha Barks will melt even the iciest of hearts when she performs On My Own as Éponine. Something tells me this will not be the last time we see Ms. Barks, and I look forward to what is next for her.

I had no expectations when I went to watch Les Misérables, and after three unrelenting hours glued to my seat, I’m not sure expectations would have mattered. This is a gorgeous musical adaptation supported by fantastic scenery, classic music, incredible performances, and the entire spectrum of the human emotional scale. It doesn’t matter if you enjoy musicals or not, Les Misérables transcends genre and is merely a profoundly stirring tale of love, loss, and glory. The characters on screen may be miserable, but the experience of watching them couldn’t be more different.

Score: 4.8/5

Review: Jack Reacher

I don’t care what anyone says about him…I’m still in Tom Cruise’s corner. There was a flooding of outrage from fans of the novel One Shot when word hit that Cruise would portray Jack Reacher, but their fears were unfounded. Sure, he’s not 6’ 5” and blonde, but how quickly people forget that this is the guy who brought Ethan Hunt to life is astonishing. Tom Cruise is still a bona fide badass, and without him Jack Reacher would falter. Thankfully, the Tom Cruise of old, complete with magnetic charisma and convincing action work, is on display here, and his performance enables Jack Reacher to achieve its goals.

            Don’t get me wrong, this isn’t a groundbreaking, hard-hitting film, but I don’t believe it intends to be. Jack Reacher is simply an exercise in old-fashioned crime drama and action, and it’s a successful exercise at that. Set along the beautiful 3 rivers of Pittsburgh, the movie finds the perfect balance between action, mystery, and humor. Outside of Cruise’s Reacher, the supporting cast is merely average, but they aren’t the stars here and they know it. The highs are wildly satisfying (namely Cruise fending off 5 guys at once outside a bar), and the lows are disappointing if not confusing (Michael Raymond James’s entire character), but on the whole Jack Reacher is a ton of fun. It should also be mentioned that this film contains one of the more exciting car chase scenes in recent memory, and it is scenes like that that go a long way in establishing Jack Reacher as a worthwhile watch.

            Tom Cruise may be the one who brought us Ethan Hunt, but Jack Reacher is no Mission: Impossible. On one hand, that’s a criticism in that it lacks the smarts and sex appeal of M:I, but on the other it spares us any self-indulgence and gets straight to the point. Jack Reacher is barely more than a popcorn flick, and I mean that in the highest regard.

Score: 3.5/5

Review: The Hobbit: An Unexpected Journey

I’d been looking forward to The Hobbit for quite some time. I bought tickets (VIP seats no less) in advance and counted down the days until December 14^th for months. My excitement was at a fever-pitch last night when the time finally came to return to Middle Earth. So did the film live up to my expectations?  While it’s no Lord of the Rings, and despite its flaws, The Hobbit is a hell of a fun adventure.

The first thing that viewers should note before watching this film is exactly that, that it isn’t LOTR.  Sure, it’s set in the same world, and there are some familiar faces, but the story of The Hobbit is decidedly less grandiose and dark in nature. Whereas the original LOTR trilogy focused on the fate of Middle Earth, this go around is simply a kid-friendly tale of adventure. That’s not a criticism, just the truth. The Hobbit centers on Bilbo Baggins in his younger years, and Martin Freeman downright nails his performance. His Bilbo truly feels like a young version of Ian Holm’s, so series continuity is never an issue. Ian McKellen, Hugo Weaving, and of course Andy Serkis, turn in first-class performances that we’ve come to expect, and they go a long way in filling out the story. The epic visuals compliment the actors beautifully, so no complaints there, and the score, constantly re-calling the dwarfs’ haunting Misty Mountains Cold hymn, adds a great deal of atmosphere. Where the film does falter slightly, however, is in it’s pacing.

The Hobbit the novel isn’t overly long. My copy is just over 300 pages, so when taking into account that this film is merely part 1 of 3, it’s 169 minute run time is exhausting. Too often the story seems drawn out with no real purpose, and while the battle scenes with various races and creatures are great, the spaces in-between grow more and more tiresome as the movie progresses. Were the characters not so endearing, these gaps could have been devastating to the film. Thankfully, there is enough beauty, adventure, and even humor to counteract these shortcomings, and I believe that the majority of LOTR fans will walk away satisfied. Don’t expect the magical, awe-inspiring epic scale that those original 3 films presented, and you will enjoy The Hobbit thoroughly. I, for one, can’t wait to watch the next leg of Bilbo’s journey. Think it’s too early to buy tickets?

Score: 4/5

Review: Killing Them Softly

Killing Them Softly is a kick-ass movie. Those involved with the production will lead you to believe that it’s a socially relevant commentary on the 2008 financial crisis, but in the end it’s more effective as a straight-up, kick-ass crime drama. Sure, there are definite parallels that can be drawn, and the less-than-subtle political speeches that act as a soundtrack add a different level of intensity, but I preferred watching it for fun, not for thought.

The film begins with one of the more intriguing title sequences in recent memory, and for a second or two the stop and start high-pitched tone reminded me more of the Texas Chainsaw Massacre than a high-octane Brad Pitt film. It sets the stage, however, and from there on out Killing Them Softly is a ride you won’t want to get off. The opening few scenes are colored by some great character acting, and though nothing new is presented, it’s always entertaining to watch stick-ups and criminal scheming. The film takes on a fresh rock and roll tone, though, when Pitt’s character is introduced, and Johnny Cash has never sounded more spot on. Pitt is his usual self, adding charisma to every scene, making it impossible for anyone to root against him. Speaking of charismatic actors, can we please give Richard Jenkins the best supporting actor of all time award? The guy can do anything, and his role as a mid-level organized crime boss in Killing Them Softly is no different. Ray Liotta is his usual mobster self, and as always you will find yourself drawn to him. Still, Brad Pitt is the star of this film and he turns in a classic performance that will stand up against many of his other characters.  

The underbelly of America is exposed in this film, but not to the extent that the writers would have hoped. We all know everything doesn’t smell like roses, so making statements about a crisis our nation has been dealing with for years seems a bit stale at this point. It’s for this reason that watching Killing Them Softly made me disregard any socio-political commentary and enjoy it for enjoyment’s sake. That doesn’t mean that the film doesn’t have a point, I just don’t believe it hits home in the way that it intends to. Violence is unrelenting yet sparse, the characters are magnetic, and the dialogue is human. All in all, Killing Them Softly isn’t quite what it thinks it is, but it’s a sure-fire good time.

Score: 3.8/5