What Happens in Vegas


Ashton Kutcher doesn't quite believe Cameron Diaz got a bigger paycheck than he did.

Ashton Kutcher doesn’t quite believe Cameron Diaz got a bigger paycheck than he did.

(2008) Comedy (20th Century Fox) Cameron Diaz, Ashton Kutcher, Rob Corddry, Treat Williams, Dennis Farina, Jason Sudeikis, Lake Bell, Queen Latifah, Deirdre O’Connell, Michelle Krusiec, Zach Galifianakis, Krysten Ritter, Ricky Garcia, Andrew Daly, Benita Robledo, Dennis Miller, Amanda Setton, Toni Busker, Jessica McKee, Anna Kendrick. Directed by Tom Vaughan

Some slogans are associated with cities pretty much forever. Chicago will always be my kind of town. You will always love New York. And what happens in Vegas…well, you know the rest.

Jack Fuller (Kutcher) has been fired from his job. What hurts the most is that it’s his dad who fired him. Jack is one of those young 20-somethings who is still trying to find himself but doesn’t mind taking his time about it. He’s not boyfriend material by any means. To help him get through his blues, his best friend Hater (Corddry), the most aptly named lawyer in history, decides to take him to Vegas.

Joy McNally (Diaz) is an ambitious floor trader on the New York Mercantile Exchange. She is engaged to Mason (Sudeikis) and has her perfect life already lined up ahead of them. Unfortunately, Mason isn’t quite on board – he dumps her in front of the door to their apartment, not realizing that Joy has invited all of their friends over for a surprise birthday party for him. Awk-ward! Her acerbic best friend Tipper (Bell), who longs to loosen the stick that has been up her tush for some time, decides to help her get over her depression by taking her to Sin City.

As always happens in Vegas – all right it never does but we’ll humor the writers – the two are booked into the same room. Instead of getting another room they decide to share and drown their sorrows in alcohol and baby, there’s plenty of alcohol in Vegas. Jack and Joy get themselves good and sloshed and wake up with rings on their fingers – the wedding kind.

As sobriety sets in the morning after, they make plans to get an annulment and head down to the brunch buffet to show there are no hard feelings. Joy even lends Jack a quarter to put in a slot machine. But when the machine pays out three million dollars, all bets are off.

And so is the annulment. Jack and Joy want it all – the money and the freedom. A fed-up Judge (Miller) tells them that he is freezing the winnings for six months while the couple makes a real effort with a marriage counselor (Latifah) guiding them. Joy moves into Jack’s apartment and of course both of them do the best they can to make the other want to give up the cash and get out. Hilarity technically ensues.

If this sounds like a plot you’ve heard before, you pretty much have. Typical of romantic comedies, it’s “I hate you I hate you no I love you” and there is nothing here that is going to catch any regular moviegoer off-guard. Well, maybe the chemistry between Kutcher and Diaz – two actors who have never really floated my boat much. Diaz can be a gifted comic actress (see There’s Something About Mary and The Mask) and Kutcher is more of a gut actor, but they make sparks pretty nicely together. They are actually better together than they are separately, although lots of critics disagree with me on that one.

It’s actually the second bananas who are the most fun to watch. Corddry has always been an underrated actor who when he gets a great role as in Hot Tub Time Machine can be absolutely scene-stealing. Lake Bell, who I think finally showed how great she can be in this year’s In a World showed glimmers of that talent here in a very different role.

The comedy here is mostly of the physical kind and the jokes are a bit tired and there are more groaners than not. Those who love lowbrow humor will be in hog heaven – there’s plenty of it here. It’s raunchy in places but not overly so, at least not like the Apatow comedies have set the standard for. As romantic comedies go this is pretty middle of the road and makes for decent entertainment for those moments when you want a few laughs but don’t want to put too much effort into the plot.

WHY RENT THIS: Nice chemistry with Kutcher and Diaz. Corddry and Bell nearly steal the show.

WHY RENT SOMETHING ELSE: Been there done that premise. Too much lowbrow comedy.

FAMILY VALUES:  There’s plenty of sexual innuendo and crude remarks, some foul language and a scene of drug use.

TRIVIAL PURSUIT: The party trick performed by Joy was the same one that Cameron Diaz also performed in Charlie’s Angels: Full Throttle.

NOTABLE HOME VIDEO EXTRAS: There’s a gag reel and a faux commercial for Corddry’s law firm. The Extended Jackpot edition includes an unrated version of the film that is (get this) two minutes longer than the original. Not. Worth. It.

BOX OFFICE PERFORMANCE: $219.4M on a $35M production budget.

COMPARISON SHOPPING: Green Card

FINAL RATING: 6/10

NEXT: So I Married an Ax Murderer

On the Road


Bella Swan, you're all grown up!

Bella Swan, you’re all grown up!

(2012) Drama (Sundance Selects) Garrett Hedlund, Sam Riley, Kristen Stewart, Kirsten Dunst, Amy Adams, Viggo Mortensen, Tom Sturridge, Alice Braga, Elisabeth Moss, Danny Morgan, Marie-Ginette Guay, Steve Buscemi, Joe Chrest, Terrence Howard, Coati Mundi, Michael Sarrazin, Ximena Adriana, Tetchena Bellange, Kim Bubbs, Tiio Horn, Giselle Itie, Giovanna Zacarias. Directed by Walter Salles  

The classic Jack Kerouac Beat Generation novel On the Road has literally been in development for decades. Nobody really knew quite what to do with the book. It finally got made and was released in late 2012; was it worth the wait?

Young Sal Paradiso (Riley), a stand-in for the author, meets Dean Moriarty (Hedlund) – who stands in for Neal Cassady – through mutual friends. Sal, grieving for his father and a writer stuck in a horrible case of writer’s block, is instantly taken by this young man who is full of life and not especially concerned with convention, rules or…well, anything that gets in the way of him having a good time. Charming and literate, Dean and his 16-year-old wife Marylou (Stewart) serve up alcohol, sex and marijuana with equal enthusiasms. When it’s time for Dean and Marylou to head back to Denver, Sal is invited to come visit.

It takes some time for Sal to get together the gumption and funds to go – even in postwar New York there aren’t a ton of jobs – but he finally does. He rides busses and hitchhikes across the pre-Interstate America and eventually gets there, only to find that Dean is cheating on Marylou with Camille (Dunst). Sal heads back, stopping briefly to pick cotton and have an affair with Terri (Braga).

Later, after Sal has returned to New York, Sal and his mother (Guay) are visiting Sal’s sister and her husband for the holidays in North Carolina when Dean turns up with Marylou and friend Ed Dunkle (Morgan) and offer to drive Sal and his mom back up to New York in exchange for a place to stay for the night and a meal. Sal’s staid sister and family aren’t quite sure what to make of the intruders.

After getting back to New York and spending some time partying, Sal decides to accompany the three back to Denver. On the way they stop in New Orleans to pick up Ed’s wife Galatea (Moss) and to visit Old Bull Lee (Mortensen) and his wife Jane (Adams). They continue crisscrossing the country and as they do Sal noticed that women are getting left behind quite regularly both figuratively and literally not only by Dean but by all of them (the lone exception is Carlo (Sturridge) who is gay and is one of those left behind by the bisexual Dean). After a disastrous trip to Mexico in which Sal contracts dysentery, at last he will see Dean for who he truly is – and find inspiration in the process.

In all honesty I’ve been less a fan of the writing of the Beat Generation and more of…well, admirer isn’t quite the right term. The Beat writers were full of bullshit, but it’s an honest bullshit, a young man’s bullshit. This is a movie about self-fulfillment in all its forms. I have to admit I haven’t read the book; okay, I might have but it was so long ago that I don’t remember it and so it adds up to the same thing.  Therefore, I’m not really the one to evaluate whether the spirit of the book was captured so we’ll leave that as a N/A for now.

Salles, who is no stranger to road movies having directed the Che Guevara quasi-biopic The Motorcycle Diaries has a firm hand here and allows the allure of the road to shine through; the endless stripes passing by through landscapes mostly desolate but wonderful in their emptiness. However, keeping in mind that the movie runs about two hours give or take, that can only sustain a film so much.

The characters here are so incredibly self-involved that it’s difficult to find a lot of sympathy for the lot of them. Mostly they’re about indulging whatever hedonistic pleasure grabs them at the moment, and Dean is the mainstay in that regard. For Dean, friends and lovers are to be exploited, discarded when the need for them diminishes or when boredom sets in. He wants to meet people who have something to say that isn’t the usual postwar pabulum of pandering prattling polemic, empty of soul and emptier of head. That’s all well and good but what does interesting companions really do for you if you make no connection to them?

Admittedly the relationship between Dean and Sal is the centerpiece here in that there is more or less a relationship of mutual respect and debauchery but in the end Dean uses Sal just as thoroughly and just as despicably, maybe even more so than the others. Hedlund gives the performance of his career thus far in capturing Dean’s natural charisma and sensual charm that attracted both women and men to him like moths to a flame. Riley, a British actor who’s turned in some really incredible performances in his young career, is solid here as the yin to Hedlund’s yang, and to my mind it’s a generous move because by not shining quite so bright he allows Hedlund’s glow to be more noticeable and the movie benefits from it.

You can only take so much self-indulgent behavior and there’s really a whole lot of it here. There’s an amazing amount of smoking and drinking, not to mention a ton of sex and drug use. I don’t begrudge anyone who partakes in any of those things but it’s a bit more boring to watch than you’d expect.

This is a generation that is not unlike the 20-somethings that are out there right now; people trying to find their own way in a world that doesn’t really get them much, so they are forced to reinvent the world to fit their view. I can commend the ballsyness of the strategy but it doesn’t always make for good cinema unless of course these are your people too.

They aren’t really mine. There just isn’t any appeal in watching people indulge their most hedonistic and basic whims while forgetting to make any connection to other people. It’s an ultimately empty and meaningless pursuit. Life is about connections, not so much about carnality. It’s a lesson that the young learn as they get older, although some never learn it at all.

Some will look at these characters and see heroes bucking the system and living life on their own terms. I see people who screw their friends over and whose only concern is having a good time. One must grow up sooner or later (you would hope) and to be honest, watching this is like watching children acting out. Been there, done that, got the t-shirt – sorry if that means I fail the coolness test.

REASONS TO GO: Some good performances, particularly from Hedlund. Captures the allure of the road and the essence of the era.

REASONS TO STAY: Characters far too self-indulgent to connect to.

FAMILY VALUES:  A whole lot of sex, swearin’ and smokin’ of weed.

TRIVIAL PURSUIT: Producer Francis Ford Coppola originally bought the rights to the novel in 1979 and has been attempting to get the film made since then.

CRITICAL MASS: As of 4/1/13: Rotten Tomatoes: 44% positive reviews. Metacritic: 56/100; the reviews are lukewarm at best.

COMPARISON SHOPPING: Neal Cassady

FINAL RATING: 5/10

NEXT: Admission