In a World…


Fred Marino offers a skeptical Lake Bell the world.

Fred Marino offers a skeptical Lake Bell the world.

(2013) Comedy (Roadside Attractions) Lake Bell, Rob Corddry, Alexandra Holden, Eva Longoria, Ken Marino, Demetri Martin, Fred Melamed, Tig Notaro, Nick Offerman, Michaela Watkins, Geena Davis, Stephanie Allynne, Melissa Disney, Olya Milova, Corsica Wilson, Yelena Protsenko, Charly Chaikin, Janicza Bravo, Jason O’Mara, Talulah Riley, Don La Fontaine, Jeff Garlin, Amy Vorpahl. Directed by Lake Bell

If you’re reading this, chances are you like movies enough to pay attention to the trailers. One of the most notable phrases in a trailer is “In a world…” which actually was the trademark of a single man – Don La Fontaine, who essentially for 20 years was the voice of movie trailers. Although there were certainly other voice over artists who worked major studio releases, La Fontaine was The Man pretty much up to his death in 2008.

However, it is true that nearly all the voices you hear shilling movies in their trailers are men – the lone exception being Melissa Disney (who in a nice bit of gracia is given a small role here by Bell) whose voice was once heard extolling the virtues of Gone in 60 Seconds. Carol Solomon (Bell) would like to be the next Big Voice. She is pretty talented too, able to switch to just about any sort of vocal style you can name. In order to better emulate them she likes to record people, sometimes surreptitiously sometimes not to the point where she has been barred from the high end hotel where her sister Dani (Watkins) works as a concierge. However, it’s a nearly impossible field to break in to for a woman so Carol makes due with gigs as a vocal coach helping celebrities like Eva Longoria speak with a believable accent.

What makes it doubly hard is that her father, Sam Sotto (Melamed) is one of the bigwigs in the industry and due to receive a lifetime achievement award. He’s not a candidate for father of the year by any stretch of the imagination – his voice may be sonorous but his soul is not. Carol has been sleeping in his spare room for awhile but Sam kicks her out so that his girlfriend Jamie (Holden) – whom Carol and Dani deride as a groupie – can move in. Carol moves in with Dani and her husband Moe (Corddry).

The “In a world” trailer line is going to be brought back for Hollywood’s hottest property – a quadrilogy called The Amazon Games and while the producers want Sam to do it, Sam magnanimously steps aside so that his good friend and protégé Gustav Warner (Marino) can get the gig but Gustav – whose ego may be even greater than Sam’s – contracts laryngitis and is unable to make the recording session for a temporary track to show the executive producer. Carol is helping Longoria re-record her dialogue in a nearby studio and the engineer, Louis (Martin) suggests that Carol do the temp track.

It turns out that the executive producer is so taken by Carol’s performance that she wants to use Carol for the final track and based on that Carol begins to get work on other trailers as well. Gustav is throwing a party for Sam and his impending award so Carol kind of has to go. Louis is eager to go with her as her date but is too shy to ask her. At the party Gustav hooks up with Carol, not realizing who she is.

Will Carol end up with the selfish Gustav or the shy Louis? Will Moe and Dani be able to overcome their marital problems? And who will be the one to warble the immortal words “In a world”?

This is one of those movies that earns the laughs that it gets. This isn’t one of those “throw everything and the kitchen sink at the screen and see what sticks.” The humor is carefully crafted and a collaboration between Bell, the writer and director of the film and her actors, taking advantage of their strengths as comic actors as well as of their physical appearances.

Bell’s ability with accents and mimicry is part of what stands out about her performance on the surface but if you look a little deeper you’ll find that this is a very layered character who can be selfish and oblivious to the needs of others – obviously the apple doesn’t fall far from the tree – and also there’s a great deal of insecurity there as well. She desperately wants to be part of the elite of the industry whose voice is instantly recognizable even if her face isn’t. Somehow, I think the ladies of 20 Feet from Stardom might understand her pretty well.

Bell also shows some skills behind the camera as well, shooting this more in the style of a drama rather than a comedy – Woody Allen is a master of this and Bell delivers a movie that Allen would likely be proud of. However, I think that as a writer she might be most talented of all – this is a smart script that allows each character enough time and space to develop a real personality. They’re not perfect and they’re just flawed enough to be realistic without being annoying. She doesn’t fall into the indie “quirkier-than-thou” trap which a lot of independents tend to do, mistaking neuroses for personality.

Melamed is perfectly cast as the unctuous Sam, full of fake bonhomie and ego but even so there is love in him. Even Gustav, the erstwhile villain, has some redeeming and interesting features. Corddry gets a somewhat different kind of role to play – Moe is less sure of himself and much nicer than what we usually see out of Corddry.

This is really a very good movie, worth seeking out. Bell has always been one of those actresses who does solid but not really noticeable work mainly in second banana roles. Here she is front and center and shows that she is worthy of consideration for higher profile parts – like this one. In a world where the worthy are rewarded for their toil, it would be sure to happen. Seeing as this is planet Hollywood, that is far from a sure thing.

REASONS TO GO: Deceptively funny. Bell is magnificent in front of and behind the camera.

REASONS TO STAY: A little bit too Hollywood of an ending.

FAMILY VALUES:  There’s a bit of foul language including some sexual references and some sexual situations.

TRIVIAL PURSUIT: Was the winner of the award for Best Screenplay at this year’s Sundance Film Festival.

CRITICAL MASS: As of 10/3/13: Rotten Tomatoes: 91% positive reviews. Metacritic: 79/100.

COMPARISON SHOPPING: All the Light in the Sky

FINAL RATING: 7.5/10

NEXT: The Twilight Saga: Breaking Dawn Part 1

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Wanderlust


Wanderlust

Alan Alda is smug because he gets to hit all his marks in a scooter.

(2012) Comedy (Universal) Jennifer Aniston, Paul Rudd, Justin Theroux, Malin Akerman, Kathryn Hahn, Lauren Ambrose, Ken Marino, Joe Lo Truglio, Alan Alda, Kerri Kenney-Silver, Michaela Watkins, Jordan Peele, Linda Lavin, Jessica St. Clair, Todd Barry. Directed by David Wain

 

Sometimes our life changes because we decide to change things. Other times it’s due to forces beyond our control. The latter often prompts us to do the former, truth be told – and occasionally that sends us in unintended directions.

George (Rudd) and Linda (Aniston) are a pair of yuppies living the dream in Manhattan. They’ve just bought what is called a micro-loft (but what George correctly identifies as being really a studio apartment) in the pricey West Village (more than six figures and just shy of seven) and they can barely afford it. George is understandably nervous but his enthusiastic wife and snooty realtor (Lavin) combine to get him to give it a good ol’ what-the-hell.

Then those forces beyond their control kick in. George’s company comes under a federal indictment and is shut down. Linda’s documentary on penguins with testicular cancer is rejected by HBO. With no income at all, they can no longer afford the apartment and have to put it up for sale at a tremendous loss, even though they’ve only owned it for a couple of weeks. With their tails between their legs, they go limping to Atlanta to live with George’s brother who has offered George a job.

They drive to Atlanta but have to stop for the night. They decide to try the Elysium Bed and Breakfast but are frightened by the sight of a naked man (they don’t get out much in New York City apparently) and manage to flip their car. It turns out that Wayne (Lo Truglio), the naked man, is harmless and he escorts them back to the B&B.

As it turns out the inn is more of a commune (although they prefer the term “evolved community”) who make them feel right at home and completely free. After a night of skinny dipping, guitar playing, pot smoking and general merriment led by the commune’s de facto leader Seth (Theroux), the friendly albeit somewhat eccentric commune members help turn over their car and send them on their merry way with the invite to join their community if they so choose.

Rick (Marino) is a complete charmless boor whose wife Marissa (Watkins) self-medicates with booze and seems oblivious to his many infidelities. Rick drives George and Linda crazy within a few days and George hits upon the idea to going back to the commune. It would be shelter and food, and they had been happier there than they’d been in a long while. Linda is skeptical but agrees to give the idea a couple of weeks.

Once there the adjustment period seems to take George a little bit by surprise. The food is uniformly bad and macrobiotic, there are no doors and no privacy, Eva (Akerman) has made it clear she’d like to make love with George and Seth makes it clear he’d like to do a lot more than that to Linda. There’s also a subplot going on with a casino being built on their land and Carvin (Alda) the somewhat addled founder of Elysium has misplaced the deed.

This is a Judd Apatow movie and for once Apatow’s involvement isn’t trumpeted to the heavens; while his signature is felt on the comedic aspects in many ways this is less overtly his work than usual. That is a pretty good thing even though I generally like his work, he’s been getting some overexposure from all the films he’s not only directing but also producing.

Rudd excels at these kinds of characters – neurotic yuppies going through transitional phases. He is immensely likable, as is Aniston who also does the high-strung career woman as well as anybody. They’re both charismatic but for some reason together (although they both spent time on the “Friends” sitcom in which Aniston starred) they just don’t have much spark.

The rest of the cast is nice, particularly Hahn as a bitchy commune member, Theroux as the full-of-himself leader, Marino, Watkins and Alda. There are some genuine funny moments that made me bust out laughing and a good deal of sexuality and nudity. There are also some long dead spaces where the jokes fall flat. For sure there is an uneven quality here that keeps this comedy from really hitting it out of the park.

Even though dramas get the lion’s share of attention once awards season starts, I maintain it’s far more difficult to pull off a good comedy than it is a good drama. Human nature being what it is, it’s far easier to make someone cry than it is to make them laugh. There are enough good moments to recommend the movie, but not much more than that. It is the best comedy out there at the moment, so take that for whatever it’s worth.

REASONS TO GO: When it’s funny, it’s incredibly funny.  Women seem to find it more relatable than men.

REASONS TO STAY: Lots of dead space. Rudd and Aniston don’t generate a tremendous amount of chemistry.

FAMILY VALUES: There’s a good deal of sexual content including plenty of graphic nudity both male and female. There’s also some drug use and a heaping helping of swear words.

TRIVIAL PURSUIT: Aniston, Alda and Rudd all co-starred in The Object of My Affection (1998).

CRITICAL MASS: As of 3/9/12: Rotten Tomatoes: 59% positive reviews. Metacritic: 53/100. The reviews blow hot and cold.

COMPARISON SHOPPING: For Richer or For Poorer

THE STATE LOVERS: Five of the acclaimed comedy troupe’s members are reunited here.

FINAL RATING: 5/10

TOMORROW: Babies