Neighbors (2014) – Review

Review: Neighbors is a funny R-rated comedy, but fails to aspire to anything more ambitious, interesting, or compelling. The film is about Mac and Kelly Radner, a young couple who has recently purchased their first home and had their first child. Life seems good. Everything changes, however, when a fraternity purchases the house next-door, constantly having wild parties and otherwise making life almost unbearable for Mac and Kelly. They have no choice but to engage in an escalating war of pranks in the hopes of getting the frat kicked out of school.

At face value, Neighbors is basically a film about warring generations: young college kids just looking to party and have a good time versus adults in their early to mid thirties (who still think they are young enough to lead the same lifestyle as the college kids, but old enough to have responsibilities and horrible hangovers to know that they are really just adults now and need to grow up). Director Nicholas Stoller tries his hand at a few broad jokes about the generational gap, but really the film does not quite capitalize on all the humor potential apparent in the narrative setup. More so, the film goes out of its way to undertake jokes that reference pop-culture, aim to shock, and of course pratfalls (because who does not like physical comedy – I wish I had not already seen the airbag jokes in the trailer though; they would have played so much better without the trailer spoiling them). Overall, the film is very funny – more or less checking all the boxes for modern R-rated comedy.

That said, the film never really tries to be anything more, which is fine, but the audience never really cares about any of the characters. What works really well about the best comedies is that not only do they make us laugh but we also feel absorbed in the story. Here, the story is an afterthought, merely existing as a way to allow the filmmakers to move from one joke to the next. The plot serves the jokes instead of the jokes supporting the overall narrative. Mac and Kelly are likable characters, and the supporting cast is made up of funny and enjoyable characters, but the narrative is very weak, and Stoller never gives the audiences moments to invest in Mac and Kelly – everything is just a joke, while the plot and characters (for the most part) are very thin. There is no real drama or emotion, which ultimately leaves the film feeling unsatisfying overall, even with the laughs.

The narrative structure too is very weak. The first two acts are actually fairly well done, but what brings down the narrative overall is its third act. Stoller wraps up the film seemingly very suddenly without a sense of real resolution. The film asks the audience to also care about the main frat characters and then leaves them out of the ending. Teddy, the frat president and nemesis of Mac and Kelly, is given a very vague and wholly unsatisfying conclusion as well. The film feels like it just ends in the middle of the third act, the audience left feeling like there is something missing.

The main narrative arc for Mac and Kelly is rather unsubstantial as well. They start out as new parents, not ready to accept their new life as responsible caregivers to their child and give up the fun life they knew before of hanging out with friends and going out at night. After the ordeal with the frat, they have come to terms with their situation and feel satisfied with their new life as parents – basically, before they wanted to go out and party with their friends, but now they do not. This is far from a transformative revelation, likely one that will be see them revert back to the urge to get out and go out in a couple weeks (or even days), as it is only natural. And if not, is it not a little sad to suggest that once we have kids we should be satisfied with a life in which we go to work, come home, never go out, and never interact with other people in social situations? But really none of this matters; the plot is just a jumping-off point. The point of this film is to laugh at jokes, nothing else.

Neighbors is really about Mac and Kelly. It is their narrative, but the film also sort of tries to be a college frat comedy as well, utilizing many of the classic troupes of the genre (hazing pledges, wild parties, students who seem to only care about their fraternity and never go to actual school, kooky members of the frat, and a struggles against a Dean that wants to quick them off campus – it pretty much just tries to throw everything in). Thus, in trying to make his comedy more than it is, Stoller loses his ability to devote time to his characters (which in the end makes this a throwaway comedy); instead, he is just trying to create a comedy genre mash-up to garner laughs for the sake of laughs.

Stoller wants to film to be a frat comedy, a generational war comedy, and an adult coming-of-age comedy, but just sort of scatters elements of all these narrative types without committing to a fully cohesive and engaging story. Neighbors is funny and thus achieves its goal, but the laughs are hollow as the narrative never fully feels compelling or interesting and there are not enough character moments to create characters the audience can invest in or care about.

Technical, aesthetic & acting achievements: Nicholas Stoller has a very good comedy track record with the very good comedies Forgetting Sarah Marshall, Get Him to the Greek, and The Five-Year Engagement, but Neighbors is his weakest film to date. Jason Segel provided Stoller with good material for his best films, but here the script and characters are just too thin. Hopefully, Stoller and Segel will work together again in the future, as they collaborate very well together.

Michael Andrews provides a serviceable score, but the film’s use of its soundtrack completely overshadows it. Brandon Trost’s cinematography is fairly straightforward, but there are a few instances that allow him to light in a more interesting manner (mostly involving the party scenes). Julie Berghoff seems to have some fun with her production design, especially in her design for the fraternity.

The cast works fairly well overall. There are a few very funny small roles. Notably Lisa Kudrow, Craig Roberts, Jerrod Carmichael, Christopher Mintz-Plasse, Dave Franco, Carla Gallo, and Ike Barinholtz are all good in small supporting roles. Zac Efron is okay as Teddy, but there does not seem to be much to the character. Most of the time, Efron just feels like an excuse to have someone who looks good shirtless. Rose Byrne is very funny as Kelly and is the best part of the film. She feels believable as her character, while bringing enough energy and timing to also bring the biggest laughs. Seth Rogen is funny as well, but he somewhat lazily seems to just be playing himself.

Summary & score: Neighbors is funny, with a few big laughs, but there is not much more to it than that. 6/10

The Five-Year Engagement (2012) – Review

Review: The Five-Year Engagement is a different kind of romantic comedy, as it tries to present much more authentic characters and situations while also commenting on the expectations of couples who have grown up with the myth precipitated by typical romantic comedies. In its humor, it is both grounded and absurd (sometimes at the same time). The film is about Tom and Violet, a couple who gets engaged but life keeps getting in the way of them actually getting married and (as the title suggests), their engagement is dragged out, with each questioning whether they really are right for each other and should get married. Writer-star Jason Segel and writer-director Nicholas Stoller have structured the film in a much different fashion than almost any other in the genre, allowing the characters to be fleshed out much more than the genre usually has time for. While there is a loose overarching three act structure, Stoller and Segel present the film in a more episodic manner detailing the evolution of Tom and Violet’s relationship at different points in time – the happiness and love, but also the frustration and anxiety. The structure goes in the face of everything the audience typically expects from a romantic comedy, which is usually mapped out so specifically that the viewer knows what to expect with each plot point before even watching the film. This is not the case at all with The Five-Year Engagement (I honestly did not know if they would stay together or not, which is amazing given how overly predictable rom-coms are). In fact, the film begins where most romantic comedies end – with two people deciding they are perfect for each other, utterly in love and want to be together forever. It tells the story of what happens after that – sometimes happy, sometimes sad, a little messy, and a lot of work. Stoller and Segel do a wonderful job with the principal characters (they reportedly revamped each character with the actor set to play them, once cast), as they feel much more authentic and their drama more real than anything viewers typically see in the genre. They are very relatable and the viewer cares about them as a result. This authenticity is the most charming aspect (and maybe the best part) of the film, as it is so refreshing, charting the challenge and chaos that is life and love. In many ways, the film is also looking at the myth that romantic comedies have championed pertaining to relationships and finding ‘true love’, pulling it down and retorting with a much more accurate and unveiled account of what relationships are like. But, this is a romantic comedy all the same after all, and as such is still infused with those zany somewhat over-the-top sequences, goofy supporting characters and a few other genre mainstays that the genre has always demanded (especially in the third act) – and really these genre conventions are to an extent part of the fun and appeal. Overall, however, the film breathes new life into a genre that has perpetually turned out generic and abject emotionally staged and false narratives for some time now (with the odd great film – like Stoller and Segel’s last rom-com Forgetting Sarah Marshall). Humor wise, this film is funny, but odd. The narrative is mostly driven by dramatic and emotional moments, and characters that are struggling. However, this is a comedy, and thus is inundated with gags, many of which are very funny. The best humor in the film generates from the situations and characters organically, while the stuff, while still mostly funny, that does not work quite as well is of a more absurdist nature (and I say absurdist because this is a film steeped in reality and yet there are a few moments that are built around jokes that seem out there, like the dinner between Tom, Violet and Violet’s sister and her husband in which they are eating deer, using deer-bone utensils – it is almost like an absurdist dramatization of how Tom feels, as he is very unhappy at the point the scene takes place in the narrative, yet happening in reality). Whether using somewhat inane humor as a projection of internal torment juxtaposed to the reality the film mostly features was a narrative choice or not is unknown, but these gags sort of stick out as they seem to not be quite in the right film, though (again) they are still funny, and even maybe work a little. As a comedy, the film is very funny mixing crude humor (both sight gags and situational comedy) with typical joke areas found in the genre. Like most Judd Apatow productions, The Five-Year Engagement both has heart and R-rated humor. And like many of his produced films, it goes beyond the typical overly generic genre dynamics and presents a fresh take (in this case in terms of presenting real characters and drama).

Technical, aesthetic & acting achievements: Nicholas Stoller and Jason Segel have now made three films together (four, if you count Get Him to the Greek, which Segel co-produced and wrote songs for but was not too creatively involved in), the other two being Forgetting Sarah Marshall and The Muppets. They make a good team, especially with their romantic comedies bringing a great sense of humor and relatable characters. I look forward to their next entry in the genre. Composer Michael Andrews scores the film well, matching the light and more dramatic tones. Cinematographer Javier Aguirresarobe’s work is fairly standard for the genre, but that being said this is one of the better shot and visually beautiful films within the genre. Julie Berghoff’s production design is great, and she seems to have some fun with the juxtaposition of San Francisco and Ann Arbor as well. The evolution of the set design accentuates where the characters are in the narrative. As with most romantic comedies, much of this film’s success comes down to its characters and performances. Among the actors with small bit parts, Jacki Weaver, Lauren Weedman, Mindy Kaling, Randall Park, and Chris Parnell stand out. Rhys Ifans and Dakota Johnson are also good in supporting roles. However, Chris Pratt and Alison Brie almost steal (if not do steal) the film. Pratt, playing a more aware version of his Parks and Recreation character, has a lot of funny stuff; and Brie is brilliant as Violet’s impulsive and emotionally eruptive sister (she has some of the best stuff in the film – from her toast at the engagement party to her Elmo and Cookie Monster talk with Violet). Jason Segel has his character down pat – a lovable nice, sometimes awkward guy who seemingly could not be mean even if he tried. Here, Segel has a lot of emotional drama to play and does so very well, while still making the audience laugh. Emily Blunt is as good at comedy as she is at drama. In this film she gets to do some of both, and is fantastic on both accounts.

Summary & score: The Five-Year Engagement is a romantic comedy that dares to be different and authentic in its portrayal of love and life. 8/10

At the Movies – April 2012 – Part 3: This Month’s Best Films

Must See of the Month:

The Five-Year Engagement (Nicholas Stoller) – Romantic Comedy – Apr 27

Summary: Tom Solomon and Violet Barnes are engaged to be married. But when Violet gets a great job opportunity, they put off their wedding for a year, which turns into two then three then four and so on. It is about the changing dynamic in their relationship. Filmmakers: Writer-director-producer Nicholas Stoller and actor-writer-producer Jason Segel (the team behind Forgetting Sarah Marshall and The Muppets) are back, working again with producer Judd Apatow (who produced Forgetting Sarah Marshall and cast Segel in his TV shows Freaks and Geeks and Undeclared and Stoller directed episodes of Undeclared). Segel and Stoller have a good group with them including composer Michael Andrews (Jeff, Who Lives at Home), excellent cinematographer Javier Aguirresarobe (Fright Night) and production designer Julie Berghoff (The Kids Are All Right). Cast: This has a fantastic cast with stars Segel and Emily Blunt and supporting players Alison Brie (from two of TV’s best five shows), Rhys Ifans, Chris Pratt, Kevin Hart, Chris Parnell, Mindy Kaling, Mimi Kennedy, Jim Paddock, David Paymer, and Jacki Weaver. Expectations: This is one of my most anticipated films of 2012, as I loved Forgetting Sarah Marshall (it is probably my favorite American romantic comedy of the last decade, and I say American because of Amelie). Segel and Stoller are two for two as a team, and Stoller’s Get Him to the Greek was funny too (which Segel produced and wrote songs for). Plus, the cast is made up of brilliant comedians too (I am a huge fan of Segel, Blunt and Brie). I almost have too high an expectation for this. I love romantic comedies, but we rarely get a good one these days – The Five-Year Engagement will be a great one (okay, I will stop my gushing now). Trailer: Here. Review.

Worth Checking Out:

The Cabin in the Woods (Drew Goddard) – Horror – Apr 13

Summary: Five friends go up to a remote cabin in the woods for vacation, what could go wrong? Filmmakers: Writer Drew Goddard (known for writing episodes of Buffy the Vampire Slayer, Angel, Alias, and Lost, the film Cloverfield and my favorite story of Buffy the Vampire Slayer Season 8 comics Wolves at the Gate) makes his directorial debut. The script is by Goddard and Joss Whedon, with Whedon also producing. Goddard is working with a brilliant crew featuring composer David Julyan (The Prestige), cinematographer Peter Deming (Drag Me to Hell) and production designer Martin Whist (Super 8). Cast: It stars a few Whedon alums Fran Kranz, Amy Acker, Tom Lenk, and Chris Hemsworth (who plays Thor in the upcoming Whedon directed The Avengers). Kristen Connolly, Anna Hutchison, Jesse Williams, Brian White, Bradley Whitford, and Richard Jenkins also star. Expectations: First off, AVOID ALL SPOILERS. This is a horror thriller that features big twists and reveals and you do not want to go in being spoiled (you just don’t). All you really need to know is: Whedon and Goddard are both wonderful writers, so the story is going to be interesting. Whedon also has a knack for casting, so the acting is going to be good (even without many big names – plus Amy Acker, while really only known for her TV work with Whedon, is fantastic). And, the principal crew is great, so the film will be well-made. So I say again, AVOID ALL SPOILERS (and really all everything; I have provided the trailer, but don’t watch it; trust me, it is better to go in knowing nothing). Trailer: Here. Review.

Movie of the Week – Forgetting Sarah Marshall

This week’s movie is Forgetting Sarah Marshall (2008).

The comedy (rom-com) is about Peter, a man who just got his heart broken by his long-time and famous girlfriend Sarah. He decides to take a vacation to Hawaii to help him get over her, but much to his surprise and dismay she is staying at the same hotel as him with her new man. The film is written by Jason Segel (who also stars) and directed by Nicholas Stoller (who have since made Get Him to the Greek, The Muppets and Five-Year Engagement upcoming in 2012 together). Segel and Stroller worked with producer Judd Apatow, composer Lyle Workman, cinematographer Russ T. Alsobrook, and production designer Jackson De Govia on the film. The cast is brilliant with performances from Kristen Bell, Mila Kunis, Russell Brand (who had a breakthrough in America due to this film), Bill Hader, Jack McBrayer, Jonah Hill, Paul Rudd, and Kristen Wiig (in the extended edition) along with Segel. The film is very funny (among my favorites of the decade). It works so well thanks to Segel’s sense of humor and overall likability and charisma. It also has wonderful supporting characters. While there have been a lot of great R-rated comedies in recent years (many from Judd Apatow, as producer and director), this is my favorite. It is a must-see for fans of romantic comedies and R-rated comedies. Check out the trailer.

Available on Blu-ray, DVD and Streaming

The Muppets (2011) – Review

Review: The Muppets is funny, warm and a good welcome back to a lot of our childhood friends. The film takes place long after the Muppets’ fame peaked, finding them spread across the country and their studio in shambles. Lifelong fans Gary, Mary and Walter discover an evil plot by businessman Tex Richman to destroy the Muppet Studio for good, and so they set out to reunite the Muppets and save the studio. The creative team of director James Bobin and writers Jason Segel (who also stars) and Nicholas Stoller are clearly huge fans of the Muppets and their love of the characters and material is evident in the film (as it is very referential and nostalgic to both the past Muppet movies and television show), but they are not afraid to bring their own jokes and style as well. It is probably best classified as a family film as the jokes hit a broad spectrum but are all safe and geared towards a family audience (much like all the other Muppets films/TV) – but it has the special property of inspiring joy and even wonder in its adult audience members (be it the nostalgia or the characters/story) eliciting a positive emotional response for all its viewers. It is hard not to enjoy the film – from the fantastic musical numbers (which are probably the highlight of the film) to the fun celebrity cameos. However, the stars of the film are the Muppets themselves (especially Kermit). Yet, this is where a structural issue arises. There are almost too many principle characters (Gary, Walter, Mary, Kermit, et al.), and thus Bobin has to switch narrative tracks multiple times to try to flesh out each character and their story (journey). He is not quite able to do this seamlessly, leading to the film dragging a little in the middle and some characters being marginalized (particularly and sadly Mary). We care about all the characters, but the narrative stream of each character is continuously interrupted. Bobin gets the tone, look and feel completely right (and the jokes – The Moopets, all the stuff with Jack Black in the theatre, breaking the fourth wall, human Walter/Muppet Gary, Kermit dissing Rico Rodriguez and many more). The pacing, however, is not quite as fluid as it needed to be for this to be a great film. A lot is great and really works about The Muppets, ultimately making it a good film, but pacing and structural problems hold it back. That said, young kids and fans will probably love it even so.

Technical, aesthetic & acting achievements: James Bobin makes his feature debut with The Muppets and it is clear that he was the right person to take on the characters, working with Stroller and Segel. I am interested to see what he does next (as right now I imagine him making films similar to Michel Gondry). The soundtrack is fantastic (and the highlight for me) with both new songs written by Segel and Bret McKenzie (chief among them Man or Muppet and Life’s a Happy Song) and classics from the Muppet canon. Christophe Beck’s score is fitting and works well in the background, but is completely overshadowed by the songs. Don Burgess’s cinematography is very colorful and bright, and production designer Steve Saklad’s work is good as well particularly his sets for The Muppet Studio and Kermit’s House. The Muppet voice actors are all wonderful, the celebrity cameos are all fun and the cast is good. Peter Linz (the voice of Walter) and Steve Whitmire (the voice of Kermit and a few others) standout among the Muppet voice actors. Rashida Jones is good in her small supporting role. Chris Cooper is a little uneven as the film’s villain, but is good when it counts in the end. Amy Adams is very underutilized but wonderful (as usual) when she has her moments. Jason Segel is good playing a role he dreamed about his whole life – you can see he loves every minute of it.

Summary & score: The Muppets is a fun and very enjoyable family film, and certainly on par with the other Muppet movies. 7/10

Jason Segel – Movies Spotlight – November 2011

Jason Segel, 31, is probably best known for his role as Marshall on How I Met Your Mother. He got his break on TV, but has started to become a feature film comedy star, writing, starring and producing his own work. This month he stars in The Muppets, which also co-wrote. It is directed by James Bobin (of The Flight of the Conchords) and also stars Amy Adams and Chris Cooper.

Early Career:

Segel planned to be a professional actor while still in college. He got his start with three small feature roles in 1998 (Can’t Hardly Wait, Dead Man on Campus and SLC Punk!).  He also got roles in Slackers, 11:14, an episode of Alias, and a three episode arc on CSI: Crime Scene Investigation. However his first breakthrough came in 1999 when Paul Feig and Judd Apatow cast him as a series regular on Freaks and Geeks.

Judd Apatow and Good TV:

Freak and Geeks is thought of as one of the best TV series of all-time, and yet it was cancelled after only one season. Segel played Nick one of the Freaks. On the show Segel met Judd Apatow, who was coming off The Larry Sanders Show and joined Freaks and Geeks as a producer (on his way to becoming the most proficient comedy producer working today). With the failure commercially of Freaks and Geeks, Apatow pitched a new show to Fox and had his first show as its creator – Undeclared, bringing with him from Freaks and Geeks Seth Rogen, Martin Starr, David Krumholtz, Busy Philipps, Sam Levine, and Segel. The show is also excellent and also cancelled during its first season. Segel played one of the series regular’s crazy boyfriend and is hilarious. In 2005, Segel got his a big break securing a series regular role on How I Met Your Mother, playing the show’s protagonist Ted’s best friend Marshall. The show is currently in its seventh season and is a huge hit for CBS. In 2007, Segel reunited with Apatow to take a supporting role in his second feature Knocked Up. He is again very funny playing one of star Rogen’s friends.

Writing, Producing & Starring:

With the success of How I Met Your Mother and Judd Apatow (as a comedy guru), Segel was able to get his script Forgetting Sarah Marshall greenlight. The romantic comedy is produced by Apatow and directed by Nicholas Stoller, who also worked as a director on Undeclared. The film is one of the best comedies of the decade (and my personal favorite rom-com of the decade). The film is about a guy who goes through a tough breakup with his high profile girlfriend. He decides to go to Hawaii to get away and ends up running into her and her new beau. Stoller and Segel have since become a creative team. Their second project was Get Him to the Greek, centered on Russell Brand’s character from Forgetting Sarah Marshall. Segel wrote new songs and produced the film. Next they pitched Disney an idea to revive The Muppets. The Dracula Musical in Forgetting Sarah Marshall and the puppet bits on The Late Late Show with Craig Ferguson presented Segel as the pefect person to bring them back, and Disney agreed. The film comes out this month written and produced by Segel and Stroller, Segel also stars and worked on new songs with Bret McKenzie. Coming April 2012, Segel and Stroller have their fourth feature – The Five-Year Engagement. It is about the ups and downs of a couple, starring Segel and Emily Blunt. They also have a number of projects they are working on.

Becoming a Comedy Star:

How I Met Your Mother and Forgetting Sarah Marshall have propelled Segel to the top of the feature comedy game. His first project as a leading man without Apatow producing came in the form of the buddy-film I Love You, Man co-starring (Apatow alum) Paul Rudd, who Segel worked with previously on Forgetting Sarah Marshall and Knocked Up, and directed by John Hamburg (who directed three episodes of Undeclared). The film is very funny. Next, he took the role voicing Vector the villain opposite Steve Carell in Despicable Me. Then he took supporting roles in Gulliver’s Travels (which Stroller wrote jokes for), Bad Teacher (neither is very good though) and the funny rom-com Friends with Benefits (though his role is more of a cameo).

Future Projects:

Segel has four films scheduled for release in 2012. First he stars in the Duplass Brothers’ (Jay and Mark) new comedy Jeff Who Lives at Home opposite Ed Helms, Judy Greer and Susan Sarandon. It is about Jeff (played by Segel) a detached slacker who might discover his destiny when he helps his brother track down his possibly adulterous wife. Next, he stars in The Five-Year Engagement (detailed above). After that, he reprises his voice role as Vector in Despicable Me 2. Finally, he reprises his role in Judd Apatow’s fourth feature This Is Forty, a spinoff of Knocked Up focusing on Paul Rudd and Leslie Mann’s characters.

Jason Segel Career Highlights:

1)      Freaks and Geeks (1999-2000)* – principal cast member (DVD)

2)      Undeclared (2001-2002)* – supporting (DVD)

3)      How I Met Your Mother (2005-present) – principal cast member (DVD, Streaming)

4)      Knocked Up (2007)* – supporting (Blu-ray, DVD, Streaming)

5)      Forgetting Sarah Marshall (2008)* – writer, leading (Blu-ray, DVD, Streaming)

6)      I Love You, Man (2009) – leading (Blu-ray, DVD, Streaming)

7)      Get Him to the Greek (2010) – producer (Blu-ray, DVD)

*Editor’s picks

Top 25 Favorite Films of the Decade: 2000-2009 - Part 1, 25-21

This past decade has been awesome for movies with tons of really good big adventure films like Spider-Man, Batman, Lord of the Rings, and Harry Potter. It also featured great genre films, highlighted by the emergence of wonderful new auteur directors and fantastic new stars. Here is the list of my personal favorite twenty-five films from the decade (not necessarily the best films critically speaking, just my favorites):

25-21; 20-16; 15-11; 10-6; 5-1

Mission: Impossible III

Rank: 25

Director: J.J. Abrams

Stars: Tom Cruise, Philip Seymour Hoffman, Michelle Monaghan, Ving Rhames, and Billy Crudup

Release Year: 2005

Genre: Action

Summary: The film finds Ethan Hunt in semiretirement. However, when an agent he trained goes missing, he puts together a team to find her, pitting him face to face with a dangerous arms dealer that will do anything to get the Rabbit’s Foot (a secret weapon), including putting Ethan’s girlfriend in danger.

Why It Made the List: Abrams has made probably the best pure action film of the decade with MI III. The narrative structure is tight and the film constantly moves forward with no dull or slow moments. The action set pieces are all very entertaining. However, what sets this film apart is that even though it moves briskly Abrams still infuses it with wonderful characters and character moments – this is also thanks to a fantastic cast. Abrams essentially took a franchise that was dead (after an awful Part 2) and made it cool and exciting again.

Watch the Trailer: Here

Available on: Blu-ray, DVD, Streaming and to Rent

Forgetting Sarah Marshall

Rank: 24

Director: Nicholas Stoller

Stars: Jason Segel, Mila Kunis, Kristen Bell, Russell Brand, and Jonah Hill

Release Year: 2008

Genre: Romantic Comedy

Summary: The film is about Peter, a man totally satisfied with his life and girlfriend, (TV star) Sarah. However, Sarah has other plans and leaves him for international rocker Aldous Snow. Devastated, Peter decides to take a vacation to Hawaii to help him deal with his anguish, but in one of life’s cruel jokes Sarah and Aldous happen to be staying at the same resort.

Why It Made the List: This is the best rom-com of the decade (and one that appeals to both sexes). Jason Segel has always been funny, but this film (which he wrote, based somewhat of personal experience) took him to a new level, putting him atop the new generation of film-comedians. Every time I watch the film, it gets funnier and I like it more. It is within the Judd Apatow stable of films (and thus features a number of his stars like Paul Rudd, Bill Hader and Kristen Wiig in addition to those listed above), combining R-rated material with heartfelt emotion. Segel’s jokes are really good, but it is his characters and quirky sensibilities (like the Dracula puppet opera) that make this film so endearing.

Watch the Trailer: Here

Available on: Blu-ray, DVD, Streaming and to Rent

Harry Potter and the Half-Blood Prince

Rank: 23

Director: David Yates

Stars: Daniel Radcliffe, Emma Watson, Rupert Grint, Jim Broadbent, and Michael Gambon

Release Year: 2009

Genre: Adventure Fantasy

Summary: Year six at Hogwarts finds Harry and the gang in trying times. Harry endeavors with the help of Dumbledore to learn more about The Dark Lord’s past, while Draco has been tasked with a mission by none other than Voldemort. Meanwhile, Ron and Hermione deal with the angst of teenage school life (and the knowledge that it is only a matter of time until Voldemort strikes at them).

Why It Made the List: Aesthetically, this film is amazingly well done (probably second only to The Deathly Hallows, Parts 1 and 2 in the series) thanks to phenomenal work from composer Nicholas Hooper, cinematographer Bruno Delbonnel and production designer Stuart Craig. The narrative structure that Yates creates for the film is also brilliant, as he builds a mystery with a sense of continuous dread and sadness and yet also is able to include a fun romantic comedy aspect to the film, which lightens the mood that is otherwise very bleak. Yates also gives the trio great character moments as well as Ginny and Draco.

Watch the Trailer: Here

Available on: Blu-ray, DVD, Streaming and to Rent

The Darjeeling Limited

Rank: 22

Director: Wes Anderson

Stars: Owen Wilson, Adrien Brody, Jason Schwartzman, Bill Murray, and Angelica Huston

Release Year: 2007

Genre: Dramedy

Summary: The film is the story of three American brothers who have not spoken in some time. In an effort to reconnect, they take a train across India with a plan to find themselves and bond with each other (to become brothers again like they use to be).

Why It Made the List: Wes Anderson (my personal favorite working auteur filmmaker) has such a fun unique and quirky style that his films feel different, the camera and staging almost work as a separate character. This film is my favorite of his during the decade (though I loved all four of his films released between 2000-2009) because while it is just a funny and emotionally engaging as his others, his style and these characters find him at the top of his talent. I love the prologue with Bill Murray, the rescue scene of the boys in the river and all the blocking and camera movement in the train (he just works so well with D.P. Bob Yeoman).

Watch the Trailer: Here

Available on: Blu-ray, DVD, Streaming and to Rent

American Psycho

Rank: 21

Director: Mary Harron

Stars: Christian Bale, Willem Dafoe, Reese Witherspoon, Chloe Sevigny, and Justin Theroux

Release Year: 2000

Genre: Psychological Thriller/Black Comedy

Summary: The film is about Patrick Bateman, a successful and wealthy New York City investment banking executive. He is losing his grip on reality, as he tries to hide his psychopathic and even homicidal alter ego that begets grander and grander gratuitous fantasies (or are they).

Why It Made the List: This film introduced the cinema world to two great talents: Christian Bale (though he had been very good in his previous roles, this was his breakout film that showcased his talent as probably one of the top five leading men today) and Mary Harron (who was compared to Martin Scorsese stylistically, but has not yet crafted a film nearly quite as good as this). Stylistically, American Psycho is something to behold. It aesthetically feels like a psychological thriller but the scenes and dialogue are often hilarious (in a very dark way). It is a very unique film in that it is utterly absurd at times and yet everything works very well together crafting what is really a character piece on this very troubled man who lives in the excesses of the 1980s.

Watch the Trailer: Here

Available on: Blu-ray, DVD, Streaming and to Rent

Get Him to the Greek (2010) – Review

Get Him to the Greek is very funny, a little sweet and enriched with mocking, yet endearing, commentary on the music business. At its heart the film is a road trip comedy focusing on getting a Wildman rock star from London to a gig in LA in 72 hours, but the film is so much more, setting it apart from many similar comedies. There is quite a lot of satire in the film at the expense of the music industry – the film seems to initially completely buy into the mythos of the music business and that of rock stars (as seen in the opening montages for London and New York – playing classic local music, if not absurd in its over use, aka London Calling, and peppering the screen with local music venues, which was also cool, and in the lead character’s (Jonah Hill) excitement and admiration for Aldus Snow), but this fades as the lead character comes to terms with the façade versus the reality of his idol. The film loses the music themed montages and dives deeper into what a shallow and overly superficial lifestyle that many rock stars lead and its affects both on them (looking at why they do it or subscribe to such a lifestyle) and on those around them. True, this is not revolutionary or new territory, but the film’s take on the experience, while prominently to humorous ends also looks into the humanity of the characters, and it is the mixture of these seemingly at-odds devices that makes the film stand out, elevating it above just another raunchy comedy or rock star satire (this is a general theme to much of producer Judd Apatow’s work, looking for comedies that have heart – to put it plainly and clichéd). The film ultimately succeeds both on the performances of its leads and the keen storytelling of director Nicholas Stoller. He is able to give the audience all the out-there wild rock star shenanigans that they expect but still ground the characters and their emotional experiences and journeys in reality allowing the viewers to connect and care about the characters – not an easy task. Jonah Hill and Russell Brand are both hilarious and perfect in their respective roles. Brand especially is just so in tune with his character (and while the character is not too far off his own comedic styling, it is still a wonderfully crafted performance). The other supporting characters are fantastic as well and each contributes good work to the film: Rose Byrne is outrageous, Sean Combs is great (maybe surprisingly), and Elisabeth Moss is funny and very sweet, yet strong in her role (while she is excellent on Mad Men, seeing her here makes me hope she gets more cinematic and comedy work in the future). Colm Meaney, Aziz Ansari and Carla Gallo are also good in smaller roles, along with a number of great bit parts. The crew also provided good work to the film. Cinematographer Robert D. Yeoman and production designer Jan Roelfs’ work complements the world of the rock star well, from the club sets to the musical performances, their work both personifies and pokes fun at the lore of the film. The soundtrack is also filled with funny and ridiculous songs written by Mike Viola, composer Lyle Workman and co-producer Jason Segel. The film is not just a fun companion piece to the brilliant Forgetting Sarah Marshall; it is its own entertaining stand-alone film. 8/10