American Reunion: A Fond Farewell to Characters We Know and Love…and Hate

Directors Jon Hurwitz and Hayden Schlossberg(best known for the recent Harold and Kumar films) had now been tasked with potentially ending a film-comedy franchise that would require as much care as comedy. American Reunion, the fourth and likely final installment in the America Pie saga, was by most objective accounts a relatively mediocre film; however, Hurwitz and Schlossberg were able to capture enough of the original magic to make the film satisfying, and ultimately preserve fond memories.

Premise: The old American Pie gang reunites to have one last hurrah and to reflect on how much has changed. Result: Overall, an objectively mediocre film but with enough focus on nostalgia to keep fans happy.

American Reunion is set in a world more than ten years after the original film, but might as well have been filmed lifetimes away.  The cast of clowns are now married, raising children, and working; this is a far cry from the virginal, misguided calamities of their former lives.  While each is supposedly living the American Dream, it is safe to say that each is in some way dissatisfied with his or her life.  Luckily for each, the opportunity to relive their high school antics at a ten year high school reunion (it’s actually thirteen years, but even the screen writers anticipated that joke!) is just too good to resist.

Amidst this not so fresh plot are all the not-so fresh antics that we have come to appreciate in these films: the botched masturbation scenes, the awkward Jim  (Jason Biggs) and his Dad (Eugene Levy) conversations, or the Steve Stifler (Seann William Scott) rude epithets. Of course, there are a few new jokes now centered on their lives such as Kevin (Thomas Ian Nicholas) and his new life as a house wife or Heather (Mena Suvari) and her boyfriend Dr. Ron (Jay Harrington) or “DRON” as he calls himself (yup, he really does) or the tongue-in-cheek relationship between Mia (Katrina Bowden) and “TVs worst sportscaster slash Dancing with the Stars knock-off ever” Oz (Chris Klein).

The central theme, of course, rests on how much has changed and yet how much has stayed the same.  And as each character wrestles with this reality, the notion of how happy they are and what are they willing to do to make their lives work out settle onto the film like a coat of synthetic snow, begging to feel fresh but never moving past stale.

There are several different plotlines that meander and intersect and somehow manage, despite it being thirteen long years later, to more than just slightly resemble the shenanigans of old.  Jim and Michelle (Alyson Hannigan) just can’t seem to reignite that old sexual flame that made them famous in the original film; add a desperate teenager girl (former babysitee) and you have the makings of an adulterous mess!  Enter old flames Kevin and Vicky (Tara Reid), who may have no trouble igniting that spark, especially when booze is involved.  Or Oz and Heather, who may regret the breakup of old, since both seem to want nothing more than boring.  Or Jim’s Dad, who is still grieving from the passing of his wife, but who needs to find himself again to be happy. And of course there’s Stifler, whose life has finally come full circle.

There are also the random cameos that although not particularly relevant to the film, are wonderful for those fans trying to get as much closure as enjoyment.  Audiences familiar with the previous films will hop with excitement at each random encounter, some which make more sense than others (the MILF episode was a train wreck.)

As the film progresses, Hurwitz and Schlossberg do a good job of pacing as each scene is ripe with at least a few opportunities for laughter.  This pacing allows the film to keep interest throughout, a feat too many sequels do not accomplish. While a few jokes may fall flat or be out-right cringe inducing, there are just as many that force us to crack a smile. Fortunately, not only are there resolutions that won’t spoil our nostalgia, but better, a few that take the stories to places we never expected them to go – with great results.

The acting in the film has no real impact on the overall enjoyment since it is what you have come to expect from this cast; largely, it is iteration, in some cases with jokes that are just farther over the top than in episodes before.  Of course, this should not detract from the performances; everyone is still quite amusing and fall comfortably back into character as if this were truly the people they are in real life – a good sign for a filmgoer.

Overall, this film is mainly for those who have seen the past films.  It is the old girlfriend/boyfriend we have come to recall fondly when times are tough; we smile at past antics and memories we have stored and believe that this film franchise really does hold a special place in our hearts.  But this film closes the book rather successfully on these characters, giving us what we longed for, but just enough to keep us from coming back.

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

Goon: A Funny, Exciting and Even Endearing Take on Hockey Guys Beating the CR@P Out of One Another!

Written by Jay Baruchel and Evan Goldberg, and directed by Michael Dowse (Take Me Home Tonight), Goon is the dramatized true story of a nice guy who just happened to excel at kicking the sh$t out of people.  While the concept may seem trivial, this team and a great cast manage to bring the story to life as a fun, memorable film we never saw coming.

Premise: A bouncer emerges from the ashes of a going-nowhere-life to lead a team of under performers to semi-pro hockey glory, beating the sh&t out of everything that stands in their way. Result: A surprisingly good film that manages to weave many different storylines into one, cohesive, interesting story we actually want to care about.

While perhaps not life changing, Goon stars Seann William Scott  as Doug Glatt, the fictional character based on Doug Smith, the hockey fight machine that inspired the Adam Frattasio book. The film is about his rise to prominence in minor league hockey simply based on his ability to protect his team and start fights on the ice. 

Taking the old joke, “I went to a fight and a hockey game broke out” to new heights, Goon does much more than just tell the story of a man most audiences would sooner ignore.  This film manages to make the story available to any audience, regardless of their interest in hockey, by deepening the tale and making it about the person, a likable guy with a bizarre talent, whose story is about fighting, but yet so much more than that.

The movie builds on the idea that Glatt is a wandering man who has settled as a bouncer at a local pub and is a major source of embarrassment for Jewish parents, Dr. and Mrs. Glatt (Eugene Levy and Ellen David), who already seemed overwhelmed ignoring the shortcomings of other son Ira (David Paetkau) the Gay Doctor (ohhh, sooo close!) Glatt expresses his depression to best friend and possible speed-addict Ryan (Jay Baruchel) who hosts a hockey show on the local network. 

But one day, as fortune would have it, while minding his own business eating a million corn dogs at a hockey game with Ryan, a team member is insulted by Ryan and attacks him.  Glatt intervenes and promptly reduces the assailant to rubble, eliciting chants of “Doug” and even a phone call from the coach.  In moments, simple-minded Glatt is on a hockey team, a sport he doesn’t really understand and for which his lack of skating does him a disservice.  Nevertheless, as an enforcer, he is stellar, crushing opponents with impunity and gaining notoriety as a rising star.

Of course, what makes this film enjoyable is Glatt himself and the characters around him who are by no means “Goons” in the typical sense of the word.  Glatt is actually a kind, sweet man who fights because it is his job and he is proud to protect his team.  Under other circumstances this reality might bring on eye-rolls at what sounds like post-modern drivel trying to humanize the inherently violent side of a vicious sport.  

Oh Doug, is that really you?

But instead, Glatt is but a Gentle Ben without a cruel bone in his body and this is sold throughout by what he says and what he does. Surrounded by bizarre characters on his team like the morose Xavier LaFlamme (Marc-André Grondin) or miserable divorcé Gord Ogilvy (Richard Clarkin) or loud-mouth coach Hortense (Kim Coates), Glatt grows significantly and in hilarious ways. Supported by his friend Ryan, he is confronted by a difficult teammate (LaFlamme), a bitter rival in legendary Ross “the Boss” Rhea (Liev Schreiber), and a love interest in all the wrong ways with Eva (Alison Pill).  Through it all, Glatt is a funny, magnetic character and the events around him will keep all types of audiences watching until the end.

Scott is one of the major reasons this film is so successful.  He perfectly pulls of Glatt, keeping him ever balanced as loveable and frightening, dumb but with the right amount of smarts to keep him from drooling to an early exit.  He very successfully nails this role elevating this unlikely protagonist and making observers root for him at every opportunity.  Baruchel, who wrote his role, took enough risks to keep it memorable.  He does a fair job of delivering Ryan, a very difficult character to make likeable or interesting since he is one Tourrett’s attack away from being unintelligible.  Often funny (but sometimes not), Ryan is a character we accept, albeit at times begrudgingly.

Pill is strong as the unlikely love interest that manages to keep the romantic comedy plotline from dragging the story down.  She brings realism to the role that sells the most unlikely aspect of the film.  Coates is great as Halifax head coach, mixing grittiness and anger with drunken adulation that only he can master.  Schreiber is also quite successful as rival enforcer, who is a perfect blend of devious and sympathetic, bringing an entirely new storyline into the mix that further heightens the entertainment.

Overall, the story, cast, writing, and direction come together to make a shockingly fun and even interesting film.  While the premise seems limited, and the laughs somewhat restrained, the entire film is engaging and often hilarious.  While it may not be the best film of the year, it is certainly entertaining with a lasting impact that packs quite the punch.  Yup, I went there.  You’re welcome.

Rating: 8 – An expensive red wine and juicy steak

Taking It to Eleven: A Brief Glimpse into Top Mock-umentaries

In 1984, Director Rob Reiner (Stand By Me, A Few Good Men, Misery) collaborating with the comedy team of Christopher Guest, Michael McKean, and  Harry Shearer, delivered a ground-breaking comedy in the now classic This is Spinal Tap. The film followed Spinal Tap, “the world’s loudest band”, chronicled by hack documentarian Marti DeBergi developing a new genre in comedy, “the mock-umentary”, a satirical version of the documentary style. Here is a brief glimpse into some of the best mock-umentaries to come out of this movement.

 

Best In Show (2000)

Director Christopher Guest
Writer: Christopher Guest, Eugene Levy
Actors: Fred Willard, Eugene Levy, Parker Posey, John Michael Higgins,
Jennifer Coolidge, Jane Lynch and Catherine O’Hara

 

Premise: A bizarre circus of characters competes at a national dog show. Result: A brilliant comedy that may be the most memorable of all in this genre. 

From the opening scene, Best In Show proves to be an instant classic. Character after character is more inane and insane than the last and even more hilarious. Whether it is flamboyant gay couple Scott and Stefan, the overbearing dog-wrangler Christie Cummings, the “loose”ly-married Cookie and Gerry Fleck, or the strung-out power couple, The Swans, the cast keeps audiences on the edge of their seats laughing.  At every turn there is a perfectly timed awkward pause, a brilliantly delivered jest, or a thoroughly unexpected outcome.  John Michael Higgins as clueless Mayflower commentator still delivers some of the most memorable one-liners to this day.

 

Drop Dead Gorgeous (1999)

Director: Michael Patrick Jann
Writer: Lona Williams
Actors: Kirsten Dunst, Denise Richards, Allison Janney, Kirstie Alley and Ellen Barkin

 

Premise: A small Minnesota town beauty pageant turns deadly when someone will do anything to win. Result: A hilarious take on the absurdity behind beauty pageants . 

Exploding tractors and mobile homes, falling stage equipment, and hunting accidents are just some of the perils that face contestants in the Sarah Rose Cosmetics Mount Rose American Teen Princess Pageant. This hysterical who-dunit in the same vein as Clue (1985) and Murder By Death (1976), manages to lift the mock-umentary genre to new comedic heights. An all-star cast participates in this tour-de-farce with such aplomb as to almost make audiences miss the satire and instead fear for the fate of our country.  After this film, the ridiculous exclamation, “The Swan ate my Baby!” might make observers chuckle to themselves on a permanent basis.

 

Waiting for Guffman (1996)

Director: Christopher Guest
Writer: Christopher Guest, Eugene Levy
Actors: Christopher Guest, Fred Willard and Catherine O’Hara

 

Premise: A flamboyant small town theater director and his marginally-talented cast of a musical production go overboard when they learn that someone from Broadway will be in attendance. Result: A laugh-out-loud, brilliant comedy that launched Guest & Company to solo triumphs.   

The first solo Christopher Guest helmed mock-umentary breaks ground on the trademark Guest/Levy humor. Here, absurd theater director Corky St. Clair manages to serve not only as a ridiculous character, but also a satire on closeted homosexuality, were Corky is able simply talk his “wife’s” absence away by saying she is forever out of town.  Further, Guest & Company manage to showcase the foibles of a small town and make it both hysterical and endearing.  Definitely worth watching for some classic St. Clair-induced madness.