Yes Man


Yes Man

Carl and Allison need to break out of their prison of negativity.

(Warner Brothers) Jim Carrey, Zooey Deschanel, Bradley Cooper, Terence Stamp, Danny Masterson, Rhys Darby, Michael Higgins, Sasha Alexander, Molly Sims. Directed by Peyton Reed

We hairless apes can be a pretty negative bunch. We have a tendency to want to stick to our comfort zone, whether we are happy in that place or not. We rarely embrace the positive; we’d much rather say “no” to life than risk potentially making a fool of ourselves.

Carl (Carrey), a junior loan officer at a regional bank in Los Angeles, has taken this to extremes. Still emotionally stunted after a painful divorce three years earlier, he has blown off most of his friends, particularly Peter (Cooper), Carl’s best friend, who recently got engaged. Mostly he wants to avoid a chance meeting with Stephanie (Sims), his ex but in reality he’s stopped living.

When his boss Norman (Darby) asks him to a get-together, Carl says no. When someone hands him a flyer to see a band, Carl turns it down. Go out drinking with Peter and their other buddy Rooney (Masterson)? Forget about it. Carl would much rather cocoon himself in his apartment with a rented video before starting his dreary existence all over again the next morning.

That is, before Carl is dragged into a self-help group that worships the power of Yes. The guru of the group (Stamp) preaches the transformative powers of saying Yes to life instead of No. When Carrey appears hesitant (and endures a cult-like chanting of “NO MAN NO MAN NO MAN” from the seminar attendees), Carl is intimidating into accepting a covenant with the guru – that he must say yes to every opportunity that presents itself to him.

So when a homeless man demands a ride into a isolated hillside park? Carl must say yes. When the same man asks to use Carl’s cell phone? Of course, even though the homeless man drains the battery. Give the homeless guy all his cash? Si, amigo!

Strangely, this does prove transformative in Carl’s life, particularly when he meets Allison (Deschanel) who fronts a strange synthpop art band and runs a jogging photography class by day – how very quirky! However, one wonders how genuine the romance can be if one is required to say yes to everything the other suggests. Certainly Allison wonders when she finds out about Carl’s odd covenant.

This is a little bit too reminiscent of Liar, Liar for my liking – in that film, Carrey was a lawyer forced to say the truth no matter what by a magic spell. Here, it’s not so much magic as karma that goes after him; the first time he says no, he winds up falling down a flight of stairs and nearly mauled by the kind of dog that most apartment complexes won’t allow you to keep.

Carrey has never been my favorite comedian; he mugs a little bit too much and a little bit goes an awful long way. He really hasn’t varied his act much over the past 20 years going back to Ace Ventura Pet Detective and now approaching 50, it wears a bit thin. Still, when he reins in his more excessive tendencies (as he did in Eternal Sunshine of the Spotless Mind) I actually do like him.

However, Deschanel is one of my favorite actresses. She has that quirky quality that indie film directors adore and she is also innately sweet, not to mention totally gorgeous. Whenever she’s onscreen, the movie works and not just because of her beauty or her quirkiness. She plays off of Carrey nicely and the chemistry between them is genuine enough that it makes you forget the age difference which might have made the movie romance a little bit creepy.

The movie has an outstanding support cast. In addition to a pre-The Hangover Cooper and veteran actor Stamp, it has small screen talents Masterson (“That 70s Show”), Sims (“Vegas”) and Darby (“Flight of the Conchords”) who is particularly engaging as the trying-too-hard bank manager Norman who has a penchant for nerdiness and Harry Potter.

Reed, who also directed The Break Up, shows flashes of brilliance in the director’s chair but is hamstrung by a script that follows Romantic Comedy formula 101 to a “T” which pretty much drains the movie of all its suspense. Also, the concept could have been tweaked a bit; Carl says Yes not so much because he has to but because he feels compelled to. It removes a bit of the dramatic tension that might have brought this movie a better rating.

For the most part, it’s fairly harmless and some of the humor that comes from the situations Carl gets into by saying yes gets more than polite chuckles. Given that I’m not a particular Jim Carrey fan may give you pause to consider that I might have rated this a bit lower than it deserves to be; certainly the work of Darby and particularly Deschanel make it worth checking out as a rental. However, at the end of the day this isn’t something I would watch again if I had a choice. That makes Yes Man a solid maybe.

WHY RENT THIS: Deschanel is one of the most engaging actresses in the business. Her chemistry with Carrey gives the movie added sweetness.

WHY RENT SOMETHING ELSE: The movie is a bit formulaic, particularly when it comes to the romance. When Carrey goes over-the-top, the movie gets a bit stale.

FAMILY VALUES: The humor can be crude and juvenile at times, with emphasis on the sexual. There’s also some brief nudity and a smattering of bad language. All in all, this is probably acceptable for most teens.

TRIVIAL PURSUIT: Jim Carrey and Zooey Deschanel share the same birthday, January 17th – exactly 18 years apart (Carrey was born in 1962, Deschanel in 1980).

NOTABLE DVD EXTRAS: Both the DVD and Blu-Ray editions have music videos (which are in reality just full uncut takes of song performances) by Allison’s Munchausen by Proxy band, as well as a “Behind the Music”-like faux documentary on the band’s rise to fame. Norman gives us a tour of his bachelor pad/love nest and we see Carrey chug a can of Red Bull and give his spiel on Red Bull love on the Blu-Ray disc.

FINAL RATING: 5/10

TOMORROW: In the Loop

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Cyrus


Cyrus

Even Marisa Tomei finds the concept of falling for John C. Reilly amusing.

(Fox Searchlight) John C. Reilly, Marisa Tomei, Jonah Hill, Catherine Keener, Matt Walsh, Katie Aselton, Tim Guinee, Steve Zissis, Jamie Donnelly, Diane Mizota, Kathy Ann Wittes, Charlie Brewer. Directed by the Duplass Brothers

In a simpler age, it was said a boy’s best friend was his mother. These days, that statement has creepy connotations, which is no doubt what inspired the making of this movie.

John (Reilly) is not a very happy guy. It’s been seven years since his wife divorced him (not his idea, as he very firmly points out) and ever since, he’s been in a shell. He rarely goes out, has few friends and as for a romantic life? Obviously not. Mostly, his only social contact is his ex-wife for whom he still carries a torch. She walks in on him masturbating to tell him the news that she’s getting re-married, which gives you an idea of what kind of movie this is going to be.

She badgers him to go to a party she’s throwing and at first, John isn’t keen on going. She has invited a lot of beautiful single girls and insists he goes so he can get on with his life (and by inference get out of hers). Finally he gives in and shows up, and it’s clear that he has no game whatsoever. As the night goes on, he continues to drink vodka and Red Bulls, getting progressively more sloshed and makes horrible attempts at small talk with disinterested, even to the point where he opens up to a woman (Wittes) about how desperate and lonely he is, sending her fleeing as far away from him as she can get.

He is overheard by Molly (Tomei), who can relate being also desperate and lonely. The two meet each other while John is urinating in the bushes (oh, the romance!) and she deflects the awkwardness of the situation by saying the only thing a woman can say that won’t cause the man to wish he were a thousand miles away – “Nice penis.”

From such things great romances are born, and Molly and John spend the night together. Soon, they are seeing each other seriously despite John’s misgivings about his looks (“I’m, like, Shrek!”) but John is a little concerned that she always leaves his bed in the middle of the night. One night, he follows her and finds out where she lives. He discovers she has a grown son named Cyrus (Hill) who lives at home and is working on a New Age music career.

Cyrus is welcoming enough at first but it becomes clear that he has another agenda in mind. For one thing, Cyrus is extremely possessive of his mom and doesn’t want to compete for her affection. In fact, the two are so close it’s kind of creepy; apparently Cyrus was still being breastfed when he was about, I think, eight. Years, that is – not months.

The Duplass Brothers are noted as leading artists in the “mumblecore” filmmaking movement, which is more evident in their previous features Puffy Chair and Baghead. This movie isn’t mumblecore per se, but it has some of the elements of it – like the jerky camera movements and the sudden zoom ins and zoom outs that become really annoying after awhile. It’s all part of the “Look, Ma, I’m Directing” syndrome that often affects filmmakers who have been too much on the indie circuit.

This has romantic comedy elements too, and unfortunately they are the same ones that have made American romantic comedies mostly forgettable and lame. The movie’s ending is very predictable, to the point of making me want to pound my head against the wall.

What saves the movie is the premise and the execution, as well as the acting of the three leads. Reilly and Tomei are two very likable actors and even though they’re playing very flawed characters here, they make you root for them despite those flaws. Reilly is so rumpled and beaten down you wonder what a hottie like Tomei would see in him until you find out how beaten down she is. They’re kindred spirits, which makes the romance all the more acceptable.

Jonah Hill has played some oddball characters in his time, and this is one of the oddest. Cyrus is at once pathetic and shrewd, able to play his mother like a Stradivarius. In many ways their relationship symbolizes a lot of the problems with modern parenting, the permissiveness and clinginess that many parents feel towards their children. If that was the intent of the Duplass brothers, then a big ol’ Bravo to them.

The movie is definitely creepy in places and awkward in others. Watching it is not unlike walking in on a married couple having a big fight; the longer you stay, the more awkward it feels. In some ways, I like being thrown off-balance that way – it makes for a more memorable cinematic experience. However, those who feel uncomfortable at the expression of raw emotions should stand warned that they might find it too awkward.

REASONS TO GO: Some really funny moments. The three key leads all turn in solid work.

REASONS TO STAY: Self-consciously indie combined with rom-com clichés make it an uphill climb at times to like this movie. The forced focus and montage sequences became tiresome.

FAMILY VALUES: There’s a fair amount of bad language and a little bit of sexuality. Some of the situations are decidedly uncomfortable concerning the mother-son relationship.

TRIVIAL PURSUIT: Filmmakers Ridley and Tony Scott served as producers on the movie, through their production company Scott Free.

HOME OR THEATER: While worth seeing in the theater, this certainly will work at home if you’d so prefer.

FINAL RATING: 7/10

TOMORROW: G-Force