Neighbors: Not a Classic But a Great Time!

Director Nicholas Stoller (The Five Year Engagement, Forgetting Sarah Marshall) -teaming with writers Andrew J. Cohen and Brendan O’Brien– has yet again managed to take real world problems and turn them into hilarity. In his latest film, Neighbors, Stoller has audiences stare deep into the face of maturation, a frightening process for most, and delivers a poignant film that still has many laughs.

Premise: A couple with a newborn war with a fraternity that moves in next door. Result: A lot of fun laughs, good characters and an overall good time.

Mac (Seth Rogen) and Kelly Radner (Rose Byrne) fear that having a baby has changed their lives for the worse. They are responsible and loving parents, but they feel that this responsibility has come with a cost: their youth. They were once fun, crazy risk-takers (after all, we are expected to believe Rose Byrne married Seth Rogan! JK Seth!) and now they are relegated to breast pumps, sneaking the occasional doobie in an alley with Jimmy (Ike Barinholtz), or to fail miserably at going out with friend Paula (Carla Gallo).

That is until Teddy Sanders (Zac Efron) and the rest of his Delta Psi Beta’s -Pete (Dave Franco), Scoonie (Christopher Mintz-Plasse), Garf (Jerrod Carmichael), etc. – move in next door. Now there is the opportunity to reclaim their youth amidst a sea of true partiers. That is until the party is much too much.

Now You See Me: A Unique Thriller Worth Seeing

Director Louis Leterrier (The Transporter, Clash of the Titans) has produced one of the more enjoyable films of the early summer, using magic in this thriller to entice audiences.  While the film is far from perfect and has a few notable misses, it is fun, interesting and exhilarating from start to finish.

Premise: Four independent magicians unite to form The Four Horsemen, a new magic act that appears to have some seriously criminal implications. Result: A fun crime thriller with a unique magical spin that is sure to delight all the way through.

The fundamental premise of Now You See Me is that magic, if nothing else, is entertainment.  But hidden in this entertainment, this joy brought to observers, is a certain power, as magic is also, at its heart, the art of trickery and audience manipulation.

It is these two concepts that pervade this story, introducing four magicians, each at a different stage in their lives and careers: J. Daniel Atlas (Jesse Eisenberg), an acclaimed magician on the world scene; Henley Reeves (Isla Fisher), Atlas’ former love interest and assistant who terrifies audiences with death-defying stunts; Merritt McKinney (Woody Harrelson), a former hypnotism juggernaut who has somewhat fallen from grace in recent years; and Jack Wilder (Dave Franco), a novice who is still too unaccomplished to use his skill for more than petty theft.

But all four are brought together by some mysterious agent who introduces them to a plan that was “designed long ago.”  Quickly audiences are transported to a year later, where the motley crew has transformed into The Four Horsemen, an astounding magic act financed by insurance czar Arthur Tressler (Michael Caine) and stalked by notorious magic-debunker Thaddeus Bradley (Morgan Freeman). It is here that they begin their true magical journey, robbing a bank in Paris as one of their great illusions.

Instantly, the “crime” goes Federal, bringing in FBI agent Dylan Rhodes (Mark Ruffalo) and InterPol agent Alma Dray (Mélanie Laurent) to figure out just how these Horsemen robbed the bank. And yet even as they interrogate the suspects and attempt the same with Bradley, there is never the sense that they or other high profile agents like Fuller (Michael Kelly) and Evans (Common) are ever any closer than many steps behind.

Instead, the four magicians simply become more powerful, leveling several more fascinating targets through some really intriguing acts.  This all amidst a hapless Rhodes and company who appear genuinely out matched throughout; but rather than detract from the film, it simply elevates the excitement of these characters and their amazing feats.

It should also be noted that audiences will also take extreme delight from Bradley’s explanations of the truth behind the magic, transforming the film from a series of unexplained events into a crime thriller with delightful twists and turns, some which importantly, even Bradley cannot explain. Audiences inadvertently play the contradictory roles of wide-awed children and incredulous adults as they are both thrilled by the magic but wish to uncover the mystery it in its own right.

Add in some entertaining car chases and an extremely memorable “magic” fight scene between Rhodes and Wilder and the film successfully lands the punches needed to keep audiences invested.

Of course, the film does have a few weaknesses.  First, Rhodes comes off more as a moronic cop than a genuine FBI agent – while this ultimately is explained, it could have been delivered with a bit less scenery chewing.

Additionally, the introduction of The Eye, doubts about Dray, and several other plot lines are only partially explained, leaving a certain sense of unfinished business.  This is particularly evident in the film’s resolution: while it is an extremely enjoyable twist overall, it is delivered poorly, lingering a bit too long in the realm of over-dramatization.

Fortunately, the performances in the film hit their respective marks.  Harrelson’s performance is most consistently the funniest and most memorable, but Fisher, Franco and Eisenberg all hold their own (this is a film where Eisenberg’s one character works again).

Ruffalo is fairy consistent throughout although there are a few too many valleys that shadow the performance. Laurent is good as always although her mysterious demeanor never really pays off in this film; she is almost too mysterious for the eventual outcome. Freeman and Caine are each quite effective, as would be expected, and their back-and-forth is delightful.

Ultimately, Now You See Me is a pleasure for fans of magic, crime thrillers, or exciting mysteries.  While the result somehow seems a bit rushed and possibly too light for the build-up, it still leaves a strong impression.

Rating: 7- A refreshing Champagne that a cute bartender comp’d you

Warm Bodies: A Daring Film That Will Keep Audiences Alive-and-Kicking Throughout

Director Jonathan Levine has managed to follow up his acclaimed 2011 film 50/50 with another daring foray into fresh, original comedy.  Like 50/50 which delved into the comedic side of cancer, Levine bravely attempts a comedic allegory that discusses human detachment and confusion, as seen through the metaphorical eyes of the undead.  The result is slow to break through audience reservations but once it catches fire, will easily warm observer hearts along with the zombies.

Premise: The strange post-apocalyptic world as seen through the eyes of the undead. Result: A funny, interesting allegory with a refreshing point-of-view.

The film begins with the narration of R (Nicholas Hoult), a zombie, in a post-apocalyptic world where most people are walking dead known as “corpses”, and some have even transformed into horrifying mega-horrors, ravenous creatures known as “Bonies”.The introduction gives vague explanations for the present world as everyone have devolved into reanimated cadavers.

R gives us a sad, somber tale of his disconnection from the world as a result of his newfound state of undeadness.  Images are splashed over the screen of mindless creatures wandering along, endlessly shuffling in search of nothing in particular.

But R is different, it would appear, somehow able to think more than the average undead; we have no way of knowing that since only R’s narration informs us but this ultimately doesn’t matter.  We do follow R and his “life” as he explains his loneliness and purposelessness, through the humorous lens of a creature previously supposed to have no lingering human traits.  This even with his “best friend” M (Rob Corddry), another barely animated creature, with whom he shares endless hours of grunting and awkward, empty stares.

But everything changes for R when he is confronted by a band of humans looking for supplies led by Perry (Dave Franco) and including Julie (Teresa Palmer) and Nora (Analeigh Tipton).  R and an impromptu mass of zombies discover their exploits and attack them; in this monstrous assault, two important developments take place: R notices Julie, which awakens something inside of him and he consumes Perry’s brains, whose memories as Julie’s boyfriend, strength a strange attraction he has to the girl.

He can’t explain why, but there is something inside him that wants to be human, awakened by Julie. A concept thought impossible, especially by Julie’s father and leader of the Human resistance, Grigio (John Malkovich), who declares the zombies to no longer be human and ultimately lost.

There are several key choices Levine makes that allow this storyline to somehow work.  First, he is in on the joke from moment one, never distracted by offering too much explanation or takes the work too seriously.  There are countless moments where observers might reproach him for what appear like plot holes but instead Levine is intent on using humor to spackle these breaches and connect us firmly to the irony.

The film is an allegory for human disconnection, how we might truly be the walking dead despite our ever beating hearts.  The zombie experience is filled with longing and isolation; despite a world that literally bumps into you, as a walking corpse, you don’t and further can’t make contact.

Levine clearly connects this state to people today: early in the film, R laments the passing of the  previous “living” world filled with associations and intimate communication (yet, the scenes we witness as observers are familiar images of people on their cell phones texting or searching, completely ignoring one another.)

And the connection to memories, and their links to humanity, is a very interesting topic; not only does this serve as thought-provoking conversation about the stage of humanity now and what makes us human, but also advances the zombie dialogue; if memories link us to humanity, and the hunger that zombies experience leads them to inadvertently reacquire this relationship through feeding, has nature given us a subtle cure to our own tragic fate?

All this is cleverly constructed through adept use of humor, direct dialogue, comedic timing, music, irony and even proper foreshadowing.  Levine knows that in making a film like this, where audience suspension of disbelief is not only required, but required in heavier doses than usual, the obstacles to audience acceptance make his success tenuous at best.  With this in mind, Levine never betrays this trust, giving audiences a solid, coherent, and most importantly, entertaining experience.

The casting served Levine well also.  Hoult manages his leading role with remarkable aplomb, using his facial expressions and sharp comedic timing to keep audiences rooting for him until the end.  Corddry, for his part, is well known in comedic circles and so his success in this sphere should not have come as much of a surprise; yet his role also asked him to approach the role with notable restraint, something foreign to his typical comedic style and so elevates him both in this role as well as in the esteem of audiences.

Palmer holds her own in this role, mixing very real sadness and fear while still keeping this within the context of a comedy.  This type of balance is rare in actresses and she keeps us believing throughout.  And Tipton, as the quirky best friend, is strong enough in her role to keep from falling into the void of shallow comic relief, a pit from which actors rarely return.

Overall, this film is worth watching.  It isn’t hilarious, laugh-out-loud funny all the time or even incontinence-inducing.  But those familiar with similar types of movies will understand the truly magnificent accomplishment; films that take unconventional topics and play with it, often do not work because either the screenwriter or the director somehow do not understand the fragile audience-film connection to the unconventional.  But Levine, brilliantly adapting the Isaac Marion novel, is fearless and spot on. And so, despite a slow start, he delivers a film worth remembering.

Rating: 8 – An expensive red wine and juicy steak

*** See the first 4 minutes ****

21 Jump Street: If Only All Revivals Were Done Like This!

Directors Phil Lord and Chris Miller (Cloudy with a Chance of Meatballs) team up once again and take on one of their riskier enterprises to date: a supposed remake of the much beloved cult classic TV series 21 Jump Street. But with a clever script written by Michael Bacall and Jonah Hill and staring an all-star comedy cast (including Hill), this film far exceeds expectations.  

Premise: A pair of failing cops is sent back to high school to blend in and bring down a drug ring. Result: A slightly flawed but still very funny and smart comedy that pays homage to the original series while still managing to be fresh and interesting in its own right.

21 Jump Street begins too quickly with a series of scenes meant to set up the police duo of Schmidt (Hill) and Jenko (Channing Tatum).  In a speed sequence that almost approximates montage, we see their evolution as “geek” vs. “jock” in High School, their eventual friendship in Police Academy (why they both chose to enter the Academy is never explained) and ultimately their exile into the painfully uneventful world of bike cops in a suburban park. There are a few scattered laughs here and there but the specter of total failure looms over every scene.

However, with a sudden, disastrous arrest the film changes completely.  Proving that the first part was purposefully rushed to get to the main event, Schmidt and Jenko are exiled to 21 Jump Street on a final assignment to save their jobs. It is at this moment that the true wit in the writing comes out crisply: Hill and Bacall successfully create a meta-narrative that rears its head at appropriate moments showing the audience the film’s ultimate awareness of its place in history and handles it with poignant humor.  It is also pointed out that this film is not a “remake” but a “revival” which is a hysterical moment and ultimately further proves the films intelligence.

Ultimately, the two find themselves going deep undercover as high school students as part of a larger covert series of teams trying to stop crime in local schools.  Led by Captain Dickson (Ice Cube), who hilariously lives up to his name, the duo is assigned a drug-busting mission playing the unlikely “brothers” of Brad and Doug McQuaid.

The film follows these two through high school, an experience which bafflers them both as roles are accidentally reversed and this, combined with shifting mores, puts the “Jock” as the “Geek” and vice versa.   They find themselves trying to infiltrate various groups and break all the rules trying to “fit in”, while simultaneously, falling into these worlds getting “too deep”, which creates issues along the way.

Allergic to protocol and common sense alike, the two hapless cops try to follow alpha dealer Eric Molson (Dave Franco) while trying to navigate the all sorts of other unexpected obstacles: an unstable principal (Jake M. Johnson), a bizarre track coach in Mr. Walters (Rob Riggle), an eccentric drama teacher (Chris Parnell), an overly “interested” chemistry teacher (Ellie Kemper), and an unlikely love in  Molly (Brie Larson).

Overall, the antics that surface in this film are hardly tired and hold up well under the scrutiny of comedy lovers and 21 Jump Street lovers alike. Every scene holds a buffet of laughs, most of which cleverly anticipate the cliché the audience is expecting and supplies both a twist and a “gotcha” moment that is effective and endearing. Despite some pranks that fall a bit flat, the more memorable result is how many hit the mark.

Fortunately, the acting in this film is fantastic throughout.  Hill, as expected, manages to deliver not only a new character in his ever more extensive repertoire, but also nails Schmidt.  This character is complex and nuanced, humorous and deep, and ultimately helps lift the overall film from hokey to hilarious.

Tatum, for his part, is perhaps the biggest and most pleasant surprise.  Like Mark Walberg in the shockingly hilarious comedy The Other Guys, Tatum in this film, manages to turn around a heavy tide of sub-par performances (The Vow, Haywire, Dear John) and deliver a funny, complex, and interesting character from beginning to end.  As the film progresses, audiences will be pleasantly surprised to find they want him in the scenes with or without a shirt!

Franco is also fantastic in his role as the over-privileged dealer way over his head in so many funny ways.  His line delivery and comedic timing are well-managed and he once again demonstrates that he is far more than a pretty face and kid brother to star James Franco.  Larson, on her end, manages to be endearing and provide the awkward moments that let the cast shine while shining herself.  And the rest of the cast, as a whole are wonderful; each have delightful moments that make them standout, even as they blend perfectly into one broader comedic plot.

In the end, 21 Jump Street is entertaining and lives up to the hype.  While not a perfect film in many ways, it is worth watching and does more than enough to hold its own against the nay-sayers.  And the plot and performances are boosted even higher by a very funny surprise near the end which takes this film even a notch higher.  While it may not be the beloved series, it also isn’t the 80s anymore, and this film proves we can reinvent while still being respectful, and more importantly, funny.

Rating: 7- A refreshing Champagne that a cute bartender comp’d you!