Showing posts with label Michael Cera. Show all posts
Showing posts with label Michael Cera. Show all posts

Friday, June 14, 2013

This Is the End (2013) – Review

Review: This Is the End is hilarious, insane, and above all very entertaining. The film is about best friends Seth Rogen and Jay Baruchel who decide to get together for a weekend of hanging out (playing video games and smoking weed). Jay, being from Montreal, does not really like the celebrity-obsessed atmosphere of LA but begrudgingly agrees to accompany Seth to a party at James Franco’s house. Seth and Jay begin to feel at odds as Seth is very comfortable in the surroundings and with his ‘new’ friends, while Jay just wants to leave (and hates everyone there). However, suddenly, what seems like The Apocalypse happens, with many of the party guests being killed. Now, Seth and Jay are stuck in James Franco’s house with James, Jonah Hill, Danny McBride, and Craig Robinson. Will they survive?

Writer-directors Seth Rogen and Evan Goldberg have created something comically wonderful with This Is the End pairing Judd Apatow style (self-deprecating) improvisational humor with what amounts to be a horror style action-thriller. Much in the style of Ricky Gervais’s Extras, the actors all play somewhat exaggerated versions of themselves (for comedic and dramatic effect), allowing them to basically make fun of each other and themselves in sort of a meta way (as presumably the audience has seen most of these actors’ films and TV shows and knows who they are). In a strange way, even though the characters are still fictional depictions, the drama seems heightened as well due to the audience connecting to these famous people (as themselves). Thus, the audience enjoys the humor more because they are laughing with and at the actors, fully aware of their past work and personas, and are more dramatically engaged as well, which combined amplifies the overall experience.

However, if the viewer is oblivious to these actors and their past work, a lot of the jokes and elevated sense of excitement will probably be lost, and the film will not play nearly as well (and may not work at all). The story is very simple and not a lot of character development occurs (because they filmmakers assume the viewer does know going in). Additionally, the humor is almost completely dependent on the viewer knowing (to some extent) the personas of these actors (like James Franco being really into reading literature and studying art or Danny McBride personifying his Eastbound & Down character Kenny Powers). In this way, the film is like a sequel to the actors’ careers up until this point in time. To appreciate the sequel, the viewer must see what comes before it first.

But if the viewer is in the know, the humor throughout is very funny thanks to a talented cast (these are basically the best young comedians in Hollywood right now, for the most part). All these actors have come up through the ranks of or have frequently worked with Judd Apatow and the overall style of comedy in this film is very much in his mode. It feels like these actors (who are all friends in real life) just got together with a thinly outlined plot and just improvised jokes and scenarios (Evan Goldberg even made it his mission to get the actors to do more and more outrageous gags until they were too embarrassed or offended and said no – Rogen and Franco both never said no). Many of the jokes are very crude in nature, and there is a sense of each actor competing to come up with better, funnier stuff. The result is a comedy that is hysterical all the way through (and easily the funniest film so far this year) and there is a camaraderie among the actors that the audience can feel.

This Is the End also works as an action-thriller. First-time directors Rogen and Goldberg keep the film moving, which is vital to the film’s thriller aspect. The narrative does not lose momentum, and they also strike a good balance with the ‘empty space’ moments that are needed for the improv-comedy and the action sequences. Rogen and Goldberg also escalate the stakes and the danger as the film progresses – as things get rather insane and the third act is brilliantly funny and exciting. While it is certainly a comedy first, it is also a good action-thriller.

All in all, This Is the End is a marvelous comedy that is engaging as an action-thriller and riotously funny. However, again, liking and being aware of these actors and their past work is probably essential to maximizing the enjoyment of this film.


Technical, aesthetic & acting achievements: Evan Goldberg and Seth Rogen have written some very funny stuff in the past (Superbad and Pineapple Express), but This Is the End clearly shows that they have a talent for directing comedy as well. The film has sort of a loose documentary style, fitting the premise, and Goldberg and Rogen often just let the camera linger on the actors allowing them to perform (and be funny). In addition to getting the pacing right (which is probably the hardest part of feature narrative filmmaking), they also find the right tone for the film – completely ridiculous, keeping things funny, while still with a constant feeling of impending thrills. In this way, it works much like a horror film. The audience is constantly expecting something frightening to jump out or a character to suddenly and gruesomely be killed. The audience is laughing, but on their toes – a great combination.

Henry Jackman’s score works well, underlining the tone and emphasizing the apocalyptic aspects, but it is the film’s brilliant soundtrack to steals the show. Goldberg and Rogen seem to find the perfect song to fit each moment (they probably spent as much acquiring the rights to use all the great and fitting songs as on the rest of the film itself, and it pays off). Brandon Trost’s cinematography also fits the tone well. His lighting creates a heightened, darker reality – an atmosphere for the crumbling of society that looks gritty and stylized. By the end of the film, LA basically looks like how we might imagine Hell. Chris Spellman’s production design is strong too. His set for James Franco’s house is great, as it works both as a joke on Franco and as the perfect bunker for a catastrophe. I also loved the juxtaposition of the neighbor’s house that the characters enter later. It is so neat and polished in comparison.

While the story is fresh and original and the soundtrack is great, the cast really makes the film. This Is the End features small supporting work from tons of great comedians (all of whom have worked on Apatow projects in the past – many from as far back as Freaks and Geeks and/or Undeclared). And, there are some fun cameos. Michael Cera (who is rambunctiously silly) and Emma Watson (who seems to be having a blast) are both good in their supporting roles. However, most of the film is spent with its six stars. Danny McBride is so much fun, as he exudes misguided swagger and mischievousness. Jonah Hill plays himself as someone who just wants everyone to like him and think he is cool, coming off like a complete tool. Craig Robinson is brilliant playing himself as being insecure and lovable. James Franco is very funny, as he plays off his own lore. He is also not afraid to make himself out to be ridiculous (much like McBride). Jay Baruchel does a good job as well playing the outsider, which also works in bringing the audience into the story. To some extent, he plays their perspective in the film. And finally, Seth Rogen is good as well. He is the element that brings all these characters together and is the peacemaker, but also secretly selfish and not a hero.



Summary & score: This Is the End is something fresh in a genre that has become complacent and boring. It strives to be something different and bonkers (much like The Cabin in the Woods), and it achieves it in all the right ways. 8/10  

Friday, September 3, 2010

Scott Pilgrim vs. the World (2010) – Review

Scott Pilgrim vs. the World is loads of fun to watch. It is specifically tailored for fans of comics, video games and indy music. Writer-director Edgar Wright is completely committed to his vision and style for the film and it is unwavering. Every sound effect, every scene, every line – everything is foreign, as the world of Scott Pilgrim is seemingly our reality, but clearly it is not and yet the film straddles the line – and every detail is thus: real but not real. The emotions of the characters are relatable, but they can also do insane things like brutally fight without getting hurt – it is as if our reality was infused with that of a video game – we are real, but we have the capability to do unreal things. This is a tricky film universe to sustain for an audience. Every detail must both link to the core emotions of the viewer or what is the point, but also each detail must pertain to the gimmicky nature of the world. The film falters a bit in that it is so committed to the world that it can grow a bit tiring and reparative (especially the fights, which seem to all end up being all sort of the same), what was once funny, cool and unique becomes mundane and common over the course of the film, particularly here because the filmmakers are so committed that every shot and so on has its roots in the world. Thus, the film cannot survive alone on its innovative and sleek style, and Scott Pilgrim vs. the World has a good enough narrative at the core to sustain and engage the audience on a level deeper than just the coolness factor of the film.  The character of Scott Pilgrim is also a bit problematic as he is not completely likable, and yet the viewer really has no one else to latch onto as a protagonist. Normally, not having a good-guy protagonist is not a problem, but this film sets him up completely and adamantly as its hero, but he is not heroic. Rather, he is forced to fight, is not very nice nor is he concerned with those he calls friends, and yet he is called hero by the narrative. While, it does make for an interesting journey, as of course by the end he rights himself and truly does become the hero he needs to be, the film struggles a bit in its ability to fully engage the viewer on the emotional, viewer connecting to protagonist, level as Scott is just kind of a jerk, though he has no idea he is one. The supporting characters are all fun, each fulfilling a specific beat in the world and each needed for the full experience. Wright succeeds in crafting his narrative to make each line, character, scene build and support the momentum and journey – and the entertainment of the experience. The world has a very authentic feel and look. The scenes in which Scott’s band plays, with the aura coming off them are fantastic. Music plays such a role in the film – it is the soul of the world and the emotional through line for the audience. With Scott Pilgrim vs. the World, Wright has made a film for fans, not for anyone else. Everything is a reference, packed with complete and utter love for the film world and all that influences it.

 On to the technical players – director Edgar Wright has always been a filmmaker that endeavors to fashion his films for genre fans (and for nerds – which I am), but not just genre fans – fans that know the genre, love it and are able to take it a step forward into a hybrid world of the genre mixing essential elements of the genre but also infusing silliness to exploit the genre for the implicit comedy that lines within it. Here, with Scott Pilgrim, Wright has gone farther. He has made a genre film to an extent, and the silliness is there, but it is not about exploiting it for comedy, it is about full emersion. Bryan Lee O’Malley’s comic series makes the perfect platform for this next logic step as a filmmaker. Cinematographer Bill Pope is the perfect choice to shoot this film. His ability to shoot both sleek action and aesthetically pleasing non-action scenes, in addition to his lighting aptitude, completely compliment the style Wright employed for the film. The look of the film is essential to its ability to work – and it looks amazing. Aesthetically and stylistically, it is one of the best films of the year. That is also thanks to the fine work from production designer Marcus Rowland, who balances our reality with that of the video game quite well. As stated earlier, music is the soul of the film. The performances by the bands and the found music give life to the world, but Nigel Godrich’s score accompanied it impeccably adding drama beats and fully fleshing out the emotion of the film. The young cast is great – each fitting and bringing life to their characters. Michael Cera does a bit of the same of his tried and true shtick, but it is fine as it works. But it is the supporting players are what really elevates the overall cast – Kieran Culkin, Ellen Wong and Mary Elizabeth Winstead are the standouts.

Scott Pilgrim vs. the World is not going to appeal to everyone, it is far too specific and stylized for that – but for those it does appeal to, it is magic. 8/10