Funny People

Judd Apatow returns for his 3rd writer/directorial expedition into comedic humanity. The thing about his latest feature, Funny People, is that there is surprisingly little that's actually funny about it. The material is likely his darkest to date.

Coupling with his former roomate and friend, Apatow deconstructs Adam Sandler's 15 year ascent to Hollywood success through the persona of George Simmons. It's good to see that Sandler has a sense of humor and self awareness to the endless slew of cinematic terribleness he's been unleashing on the public since the early 00's. Basically, Simmons is informed that he has a rare blood disease (a fictional form of leukemia, we're told) that may very well take his life. On a gloomily nostalgic trip to a comedy club, he is introduced to Ira Wright (Apatow regular, Seth Rogen.) Simmons takes the budding comedian under his wing as his new joke writer and sort of legacy-holder while he undergoes an experimental treatment.

For the first hour and a half, Apatow has spun a truly honest tale of our own mortality and the disassociative effects of long term fame. Simmons is portrayed as an almost soulless being, every scrap of true humanity stripped away by a lifestyle that's become too easy, while Ira is struggling desperately to break in to the lifestyle that's broken down Simmons. However, this in depth dissection is interrupted by an all but unnecessary 3rd act involving a now married former flame of George's that really only serves as a showcase for Judd's admittedly adorable, though narratively irrelevant daughters. This segment meanders on for a bit too long and only manages to further de-humanize Simmons, making him even less relatable or even remotely likable.

Sandler finally makes use of the talent most people had forgotten he actually has (last seen displayed in Paul Thomas Anderson's Punch-Drunk Love.) Seth Rogen shows more range than we've ever seen from him this time around. Paired with Jason Schwartzman and Jonah Hill as his fame-bound roommates, Rogen sells his morose ambition to a tee. Eric Bana (in an attempt to remind people that he was in something other than The Time Traveler's Wife this summer) goes out on a limb as the aussie husband to Leslie Mann (Apatow's real life wife and mother of his 2 soon-to-be starlet kids, playing the object of Simmons' misguided affections) and really hits some funny notes before anyone can notice that his scenes aren't very useful at all.

At the heart of Funny People is a good story. Unfortunately that good story is hidden inside the trappings of a self indulgent filmmaker that doesn't have anyone who's willing to tell him that a 35 minute tangent about an ex-fiance is a bad idea. The DVD will be worth the time, with the veritable goldmine of extras including uncut comedy performances, outtakes, alternate improvs and deleted material (I'd be surprised if there is any, the movie is so long as it is.) An unfortunate misfire for Apatow after the promise that Knocked Up showed, but even a not-so-great Judd Apatow movie is a pretty decent movie, overall.

Public Enemies

Michael Mann has had an overall impressive career. There have been the missteps along the way, like the over-inflated Ali and the nigh irrelevant revisiting of his 80's TV property Miami Vice, but movies like Heat, The Insider and Collateral maintain the balance. Now as the pioneer of the Digital Cinema age, Mann's Public Enemies ushers in the new era of filmic storytelling.

Enemies takes an interesting look at the life of John Dillinger. Instead of focusing on his rise to gangster infamy as the most renown bank robber this side of the Great Depression, we see the quieter portion of his downfall leading up to his assassination outside the Biograph Theater. Also interspersed through the tale is the birth of J. Edgar Hoover's Bureau of Investigation through the machinations of G-Man Melvin Purvis.

The way Mann has utilized the digital video technology is definitely unconventional. There are a number of scenes with sparse lighting that gives the image a grainy appearance, which at first appears to be amateur but slips into an almost documentary feel at times. And yet, Mann still proves that no one can film a gun fight quite like he can. He displays some of the most sleek and dynamic camera moves of his career during the bank heist and prison break scenes.

Depp's portrayal of Dillinger is one of his most understated performances in quite some time. While his physical likeness isn't necessarily uncanny, his mannerisms and overall persona convey such a staggering amount of charisma he sells himself to the role in spades. Christian Bale finally edges his way out of his gruff, gravelly voiced typecast as Melvin Purvis, which couldn't be further from his roles as either Batman or John Connor. He constructs an interesting anti-villain, while we're set to rooting for Dillinger for the most part, Purvis' transcends the typical "lawman" archetype, making himself sympathetic and noble at the same time. Those performances aside, the show is all but stolen by recent Oscar winner Marion Cotillard. Playing Dillinger's girl, Billie Frechette, Cotillard refuses to fall victim to the award winner's follow up film curse (see: Halle Barry.) The strength her character exudes, despite the gender role trappings of the era, is undeniably powerful.

Michael Mann only graces the big screen every 3 years or so. Public Enemies proves yet again that it's worth the trip to the theater when it happens.

Harry Potter and the Half-Blood Prince

And so, 2009 brings us the penultimate installment of the Harry Potter franchise. While the Half-Blood Prince may be one of the most loosely adapted of the novels thus far, it stands as one of the most emotionally resonant and significant films in the series.

If you stepped into the theater expecting a beat for beat interpretation of the 600+ page novel, I'm sorry to say, you are sorely mistaken. The laborious exposition and episodic structure of the book has been simplified to the core theme of the 6th installment's story, which is the blooming emotional maturity of the main characters. This comes out in the form of fleeting and slowly growing romances among the students, apt considering at this point they are 16 years old and at the peak of their volatile hormones. Apparently, wizard or not, the birds and the bees still apply in full force.

Mostly grown by now, the Potter kids finally put on their acting pants an do a markedly admirable job. The chemistry between Rupert Grint and Emma Watson is as genuine as it is heart-breaking. Daniel Radcliffe steps up his game and transcends the huffy-puffy adolescent of previous incarnations to achieve a true emotional depth(perhaps his stage presence in Equus helped nurture this game-changing feat.) Most impressive of the young cast this time around is Tom Felton as Harry's would-be advesary Draco Malfoy. As the beleaguered almost-villain the weight of his moral dilemma is etched into his face with true professionalism. Downplayed, but still omnipresent are the cadre of seasoned actors as the Hogwarts teachers. Michael Gambon, Maggie Smith and Alan Rickman hold steady for newcomer to the series Jim Broadbent as the new Potions teacher. His portrayal of Professor Slughorn carries a whimsically drunk, though inherently melancholy tone and is likely one of the most memorable one-off characters of the series.

Second time Potter director and series finisher David Yates also proves that, while this is essentially a childrens franchise, it's also an actual film as well. The visual effects, while frequent, take a back seat to the cinematography and shot composure creating a more immersive atmosphere than in previous installments. Unfortunately, screenwriter Michael Goldenberg (who penned the impressive 5th film, The Order of the Phoenix) will remain a single chapter writer as series alum Steve Kloves re-assumes his post behind the keyboard. The adaptation is fair, but to his credit the relevance of the piece falls on the shoulders of Yates, who accomplishes it easily enough.

As the veritable "Empire Strikes Back" of the Potter catalog, The Half-Blood Prince is the opportune film to lead in the two part finale The Deathly Hallows, though we'll have to wait until winter 2010 and summer 2011, respectively.

Moon

After receiving a vast amount of critical acclaim at the Sundance and Cannes festivals, the Sam Rockwell powered one-man psychological sci-fi thriller show begins to worm its way into more theaters on its steadily expanding limited theatrical run. Directed by Duncan Jones, the real life son of Ziggy Stardust himself (David Bowie) Moon takes many of its cues from classic fare like 2001: A Space Odyssey, Alien, Solaris and Silent Running.

Rockwell plays Sam Bell, an astronaut finishing the last two weeks of his three year contract in an energy harvesting base on the far side of the moon. Kevin Spacey lends his voice to the robotic service assistant, GERTY, that mills about the station on a ceiling rail. His dulcet tones haunting the hollow compartments that Sam inhabits. As his contract end date approaches, his mental state begins to wane and he is involved in a moon rover accident following a hallucination. Sam awakens back in the station to find that there is another Sam Bell on the station who claims to be there on the same three-year contract.

Jones exploration into the nature of the human condition when faced with bleak and undeniable solitude is nothing short of mind blowing at times. The atmosphere is set perfectly in the cramped confines of the Sarang station's set design. The dim neon lights reassert the artificiality of Sam's surroundings. The choice to use miniatures instead of straight up CG adds a veritable amount of believability to the isolated locale of the moon's surface. The haunting score by Clint Mansell (best known for his work with Darren Aronofsky, namely Requiem for a Dream) seems to reverberates off the station walls, becoming a living attribute to Sam's plight.

Of course, it's impossible to leave the theater and not commend Rockwell for the daunting task of being the sole human character(s,) especially after the performance he's thrown together. While known for more eccentric characters like Billy the Kid from The Green Mile, Hitchhiker's Guide to the Galaxy's two headed, partially retarded ambassador Zaphod Beeblebrox and most recently the sex-addicted con-artist, Victor Mancini the adaptation of Chuck Palahniuk's Choke, Rockwell employs a staggering range of emotion, especially when acting against only himself. It's almost convincing enough to assume that Rockwell has a true life twin to act off of, though it's all camera tricks and simplistic duplication effects.

Though a great deal of Moon's moral and ethical themes are unpleasant to ponder, what comes off the screen sticks with you. As a freshman effort from Duncan Jones, the end product is astounding to say the least. This is a director to keep an eye on in the coming years.

Rest in Peace, John Hughes

It's not surprising how affected I feel as I write that John Hughes has passed away. This is the man who essentially introduced me to comedy, let alone cinema.

If it weren't for Hughes, I may not be writing the way I am today (prose, comic, screenplay or critical essays) and he will always stand as an inspiration to myself and anyone else with a pen (or word processor) in hand.

Speaking for the past, present and future scribes of the world... We'll miss you, John.

Whatever Works

Woody Allen has been in the business so long, it seems he tried just about every genre. His latest venture, Whatever Works, is ultimately more of a throwback. Most likely since the script was penned back in the 70's. Aside from adjusting the socio-political references to be more modern and relevant the film works remarkably well.

Casting Larry David in the lead role as aging cynical genius, Boris Yelnikof is a veritable stroke of genius on Allen's part, and any fan of Curb Your Enthusiasm will agree. Utilizing an Annie Hall style 4th Wall Breaking Narration, David sets the tone for this sarcastic, delightfully misanthropic love story. Despite all his harsh criticisms on the state of human affairs in this day and age, that's what this movie ultimately is. A love story.

Following Boris' divorce and his failed (yet comedic) suicide attempt, he spends his days with a bum ankle, teaching chess to grade-school children (just as harshly as he'd teach adults, plus physical abuse to boot) and waxing intellectual with his diner buddies (including a criminally underused Michael McKean.) On the way home to his dingy NYC apartment he stumbles upon (or over, as it were) the homeless deep south runaway, Melodie St. Ann Celestine (played remarkably well by Evan Rachel Wood.) Surprisingly The two form a twisted sort of bond, but a bond nonetheless, before her bible-thumping parents (Patricia Clarkson and Ed Begley, Jr.) swoop in to rescue her, or so they think.

Despite the abrasively negative disposition of the protagonist, Whatever Works has a very light heart at its core. Allen's return to the states after a bout of films across the pond gives the material a lived in feel. He truly is at home here. Though, it's very apparent that he has much more to say than what is expressed by the end of the film. An unfortunate side effect is the limiting scope of Begley, Jr's performance. His character arc is almost a footnote to the development and growth his fledgling big city newcomers make. All things considered, Whatever Works is a no nonsense, nonsensical, ugly yet cute look at fictional love in the real world, as only Woody Allen can spell it out.

Primer

Primer caught my eye when it was released quietly on DVD in 2004. I didn't read the premise on the back of the box and I didn't recognize either of the actors on the front cover. What pulled me in aside from the Sundance Grand Jury award was mostly the tagline. "What Happens if it Actually Works?" Intriguing to say the least. If WHAT actually works, I wondered? I took the 77 minute super-independent film home and my mind proceeded to implode in on itself.

As it turned out, Primer is about time-travel, though not in the easy to follow terms of, say, Back to the Future or The Terminator series. The two lead characters, Aaron (played by producer, writer and director Shane Carruth) and Abe (played by David Sullivan in a noteworthy performance) run a small time software business out of Aaron's garage. While attempting to produce a superconductor the two friends accidentally create a low grade, small scale time machine. The physics are a bit complex, but go something like so. This isn't a simple temporal jaunt, not as simple as flipping a switch or getting the Delorean up to 88 mph. One can only go backwards in time, and you are only able to go back as much time as you're willing to spend the real time in the machine, which is displayed as an aluminum lined makeshift coffin.

Once inside the machine, time moves in a loop from the point in time when it is turned on. If you turn the machine on at noon and set it for 6 hours, inside the machine once it reaches 6pm, time will move backwards to noon again. This is described as A-in, B-out. Therein, if one enters at the B point in time, after staying in the machine 6 hours they will emerge at the A point, having traveled 6 hours back in time. Confused yet? Good.

Needless to say, Aaron and Abe's first attempts to play the stock market need meticulous planning and preparation, ensuring that no outside interference will take place and the possibility of running into their future selves is out of the question.

The first 40 minutes or so is relatively easy to follow, aside from the technical physics laden dialog (Carruth refused to simplify the script for the sake of the audience, to better execute his vision) though shortly after the halfway point, the film turns on its ear and takes a sharp right into massively confusing territory. As the friends become more unwound by stress, lack of sleep (referenced by a line regarding "working 36 hour days") and the adverse affects of continued use of backward time travel, the trust between Abe and Aaron deteriorates. Their reality becomes unhinged as paradoxes begin to pile on top of each other. So many details are scattered about, conveyed through a hauntingly cryptic voice over from an answering machine message that at this point, the film demands your complete attention. Even then, it is likely some detail will be missed.

Through simple cinematography and a hauntingly simplistic score, the latter half of the film plays almost like a psychological film noir. Who's playing against who. What is really to be gained from all of this. What actually went wrong in the first place. The film almost demands multiple viewings to put it's abstract puzzle pieces together. Still, the final product may indeed be incomprehensible, which is to say, the human mind cannot yet comprehend the cataclysmic effects of time travel.

For a production budget of only $7000 the effectiveness of this film is astounding. No A-list stars or name recognition, extremely limited effects and a limited amount of locations. The story is what drives this film to success, whether it's understood by the viewer or not. It may take several days to untangle the knot it will make of your brain functions, but at a 77 minute run time the end result is well worth it.

For those still confused by my feeble attempt to explain the physics of Primer's time travel, here's a handy diagram:

Still can't read it? Click to ReBigulate!