This is 40


Love can make anything bearable.

Love can make anything bearable.

(2012) Dramedy (Universal) Paul Rudd, Leslie Mann, Melissa McCarthy, Albert Brooks, John Lithgow, Jason Segel, Maude Apatow, Iris Apatow, Annie Mumolo, Robert Smigel, Megan Fox, Charlyne Yi, Graham Parker, Michael Ian Black, Lena Dunham, Joanne Baron, Tatum O’Neal, Chris O’Dowd, Lisa Darr, Ava Sambora. Directed by Judd Apatow

As we get older our priorities change and in changing that aspect of our lives, we ourselves change. In a relationship, we’re constantly having to adjust not only to who we are but to who our partner is. Sometimes, those changes come at the expense of our relationships.

Pete (Rudd) owns a boutique record label that specializes in re-releases and new releases by bands from the 80s and so on. He is thrilled to have Graham Parker on his label, even though most of his friends and loved ones tell him that Parker isn’t going to sell any digital downloads. He is turning 40 although doesn’t look it. His record label is going down the toilet and he’s hinging his future on Parker; to fight the stress he retreats to the bathroom for hours on end and sneaks cupcakes that he swears he’s not eating. He also continues to lend money to his dad (Brooks) even though he can barely keep his own head above water.

His wife Debbie (Mann) is also turning 40 but she’s far less sanguine about it. She tells everyone she’s turning 38. Her trendy clothing store is being robbed blind by one of her employees; the mellow Jodi (Yi) swears it’s Desi (Fox) who drives an expensive car, wears expensive clothes and always seems to have a lot of money. Debbie fights stress by sneaking smokes when she thinks nobody is looking, even though her family thinks she’s quit. She’s completely estranged from her Dad (Lithgow) who ran out on the family when she was four, and the two of them are having trouble finding a way to bond.

Debbie and Pete snipe at each other and argue a lot which drives their kids – teenager Sadie (Maude Apatow) and her little sister Charlotte (Iris Apatow) nuts which they act out by constantly being at one another’s throats. This isn’t a happy family but it’s likely a family you’ve run into in your own neighborhood.

This is kind of a sequel to Knocked Up inasmuch as it concerns two characters who constituted the younger sister and her husband of the main female character. However don’t expect a similar tone as that movie because this is completely different. This isn’t as out-and-out funny as the previous film, for one thing. It’s listed as a comedy but there’s a whole lot of drama here with real world problems creeping into the marriage – financial stress, lack of communication, lack of desire, teenage hormones. Some viewers might find it hitting uncomfortably close to home.

Rudd and Mann come off as a real couple and while they clearly have some intimacy issues, they do have that easy familiarity when it comes to intimacy that couples that have been together awhile possess. It’s easy to picture them as a married couple, which is unsurprising as Mann is Apatow’s real life wife and Rudd has been a friend of his for a long time. The kids are also Mann’s children so her feelings for them (and theirs for her) don’t seem forced.

I was impressed by Mann’s performance particularly. There’s a moment when Debbie asks Pete if they’d have stayed together if she hadn’t have gotten pregnant (which is a bit of the flipside to Knocked Up) and when he hesitates, her look is absolutely priceless and heartbreaking. She does it all non-verbally and I was thinking in the audience “why oh why hasn’t this woman gotten better roles” because frankly she shows here that she can handle anything. I really hope she gets offered a few dramatic leads just so we can see what she’s really capable of. She, like Judy Greer, is much more than a second banana which is what both actresses seem to be cast as mostly.

I thought a few scenes ran a little too long and the pacing could have been a bit better. Universal is selling this as a comedy so I suspect it’s going to get some hating because people are walking into it expecting a laugh riot (and to be fair, with Judd Apatow’s name on it that’s not an unreasonable expectation) and will walk out disappointed. I’m sure that’s affected my rating of the film.

Being not what I expected isn’t a bad thing. There’s a lot to be said for throwing a change-up every once in a while. Young people might look at this and be turned off of marriage for good. All I can say about that is this: every relationship is a struggle and takes a good deal of work. Nothing is ever easy. But making a good woman happy is one of the noblest things a man can do, as is making a good man happy one of the best things a woman can do. In order to do it, there needs to be a lot of communication, a surfeit of honesty, a great deal of humbleness and a glaring lack of ego. These qualities are not always there in quantity and certainly not at every moment. We all go through rough times and they look a lot like this. Kudos to Apatow and his cast for attempting to capture that; it just may not necessarily be what you go to the movies to watch – it maybe what you go to the movies to get away from, and that needs to be a consideration before plunking down your cash at the box office.

REASONS TO GO: Great chemistry between Rudd and Mann. Some moments that are relatable and real.

REASONS TO STAY: Runs a little too long. Lacks the real laugh-out-loud funny jokes. Might be a little too “real” for some.

FAMILY VALUES:  There is quite a bit of sexual material, lots of bad language, a little bit of drug usage and some crude jokes.

TRIVIAL PURSUIT: While neither of the main characters from Knocked Up appear in the film a picture of Alison (Katherine Heigl) can be seen on the wall of the home and Pete mentions that he got the marijuana cookies from Ben (Seth Rogen).

CRITICAL MASS: As of 12/29/12: Rotten Tomatoes: 50% positive reviews. Metacritic: 58/100. The reviews are pretty mixed.

COMPARISON SHOPPING: Forgetting Sarah Marshall

GRAHAM PARKER AND THE RUMOUR LOVERS: In the film, Parker is signed to Pete’s label and performs a couple of songs live – one solo and one with the band. In real life Parker just released a new album which has been acclaimed as one of the best albums he’s ever done.

FINAL RATING: 6.5/10

NEXT: Waiting For Forever

Advertisements

Take Me Home Tonight


Take Me Home Tonight

Topher Grace is disconcerted that Teresa Palmer has never heard of "That 70s Show."

(2011) Comedy (Rogue) Topher Grace, Teresa Palmer, Dan Fogler, Anna Faris, Chris Pratt, Michelle Trachtenberg, Lucy Punch, Michael Ian Black, Demitri Martin, Michael Biehn, Bob Odenkirk, Angie Everhart, Jay Jablonski, Edwin Hodge. Directed by Michael Dowse 

Honesty is the best policy; it has been said time and time again but few of us really regard it as true. Most of us will lie about how successful we are, how old we are, what we did during the day – even who we are – to impress someone else. In an age where lies are commonplace and Internet identities are meaningless, we sometimes forget we used to have to tell our lies face-to-face.

In a sense, Matt Franklin has been lying to himself. He is an MIT grad who doesn’t really want to be an engineer, but kinda does. He’s not sure. He’s really not sure about anything. So he lives at home with his policeman dad (Biehn) and housewife mom and twin sister Wendy (Faris) and works at Suncoast Video (are there any of those left?) in the local Mall. Oh, did I mention its 1988?

Into his mall walks Tori Frederking (Palmer), the high school crush he never had the guts to ask out because he never had an “in” and about whom he was just coincidentally talking about with his best friend Barry Nathan (Fogler), a Mercedes salesman who’s about to get fired, although he doesn’t really know it (but he kinda does). Matt nervously strikes up a conversation with his unrequited love, trying to act nonchalant but getting flustered when she mentions her successes – graduation (with honors) from Duke, a job at a high-end investment banking firm.

That’s why Matt blurts out that he’s working at Goldman Sachs, which is a bit weird because apparently they don’t have an L.A. office (which is really weird because of course they do – even in the 80s, all of the big financial firms had L.A. offices). She asks if he’s going to a party that evening, and even though he wasn’t planning to; it’s at the home of Kyle Masterson (Pratt), the smarmy preppy boyfriend of Wendy who doesn’t even know that she applied to Cambridge (which I suppose is supposed to be Oxford but who am I kidding?) or that she would move to England if she was accepted.  The letter detailing whether she got in or not sits unopened in her purse.

So yes, this is one of those “life changing party” movies that had their genesis in the ‘80s and there are plenty of nods here to the era from a decidedly John Hughes-like tone to the big hair to the cocaine use. As someone who lived in Los Angeles in the 80s, I can tell you that they did get the mall culture right, and if the movie is a bit smug in its nod to the wealthy – both of the parties depicted here are in the homes of rich people, even if Matt and Wendy live in the burbs as the children of a cop who put most of his retirement money into Matt’s education, only to see him take a job at the mall. Money well spent, eh dad?

There are a few laughs here although not nearly as many as in the similarly-themed Hot Tub Time Machine which was a much better movie than this one. Then again it’s something of a miracle we’re seeing this movie at all; it was actually filmed four years ago, but Universal, which then owned the distribution rights through their Rogue imprint didn’t feel confident about releasing it and it sat on the shelf until the Starz-owned Overture distributors bought Rogue. Overture was in turn purchased by new distributors Relativity who then added it to the release schedule.

Grace can be truly charming (as he showed in “That 70s Show”) but he looks a bit lost here. His character is so wishy-washy that it’s difficult to get behind him fully and it gets frustrating to watch him flounder, which he does for much of the movie. Fogler, who hasn’t always been impressive in his film roles, does actually manage some of his best work here – a scene where he is lured into a threesome (of sorts) in a Beverly Hills bathroom with a Cougar who turns out to be “Law & Order” hottie Angie Everhart (shockingly unrecognizable here) is one of the movie’s highlights.

Unfortunately much of the movie relies on unfunny gags and uninspired bits. The movie relies far too much on the ‘80s gimmick and poking fun at a decade which is too much like shooting fish in a barrel. I liked the Goldman Sachs reference until I realized that it was inserted in well before the financial meltdown that Goldman Sachs had such a hand in so the reference was kind of accidental.

This is one of those movies that has enough good moments so that it’s not an utter waste of time, but is frustrating because it does waste its potential. I liked the tone of the movie; it just could have used a few more laughs to keep the pace moving along.

REASONS TO GO: There are a few funny moments, particularly between Grace and Fogler. Palmer is awfully pretty and Faris has a role that is completely out of her comfort zone but she still nails it anyway.

REASONS TO STAY: Not enough laughs to sustain the movie. There is a little bit of heart and warmth and while the film nails the “look” of the era, doesn’t really capture its essence, preferring to focus on the excesses of the time.

FAMILY VALUES: A whole lot of bad words, lots of drug use, plenty of sex and nudity but hey, it’s the 80s!

TRIVIAL PURSUIT: It took four years for the movie to see the light of day, mainly over studio reluctance to show all the drug use; during the down time the title changed from “Young Americans” to “Kids in America” to the present one, taken from an Eddie Money song that while played in the trailer never appears in the film.

HOME OR THEATER: Chances are this will be gone from theaters before you can get out to see it anyway, so I’d make this a rental.

FINAL RATING: 5/10

TOMORROW: Looking for Eric