Hi, everyone. "Moriarty" here with some Rumblings From The Lab...
This looks like the kind of movie that Mrs. Moriarty is going to make me go see, and it’ll be sort of painless and okay and entirely forgettable, and even though parts of the trailer make me laugh, it’s like I can already see the entire film coming down Broadway, beat for beat. I’d love to be wrong, but let’s see what today’s reviewers have to say...
Hey Harry and Mori, I wrote in last week for The Last Samurai, of course, I didn’t give my name or anything but Moriarty said it was “clearly articulated.” Yeah, like any of you give a shit, on to the movie.
I just got back from the big sneak peek of Something’s Gotta Give, and my head hurts. No, not because I spent so much energy and time thinking of this movie, quite the opposite. My head hurts because of the hammering this movie gave me. More on that later though. Most of you probably know the story; Jack Nicholson plays a hip-hop record label owner who has a thing for young women. He and his latest escapade (Amanda Peet) visit her family’s beach house, which is supposedly free for the weekend. Of course, her mother walks in (along with an aunt) and insanity ensues. After an unlikely turn of events, Jack is stranded in the house with only Diane Keaton. If you can’t figure out the rest, you may enjoy this movie, as you haven’t seen it all before. Despite it’s somewhat original premise, the film is just the normal bag of tricks.
You may have noticed that I have referred to Nicholson and Keaton by their real names. There is a reason for that. That’s pretty much who they play. Actually, that mostly applies to Nicholson, but both of them are on cruise control. Jack just takes it easy with this role, nothing new with him. But that is somewhat forgivable after About Schmidt. But he basically takes all the comedic elements from his more charismatic role and gives it to us with all his charm, and it’s Nicholson, so there’s quite a lot of it. Keaton isn’t necessarily playing herself, but she’s playing the role she seems to play every so often since she found success with Woody Allen in Annie Hall and Manhattan. In fact, there is a scene where they run from the rain outside to the house for shelter, laughing like children, and once they get out; the power goes out, very eloquently suggestive of the great museum scene in Manhattan. Of course, they’re both charming; they do what they can with the roles, which isn’t much. (Just as a side note, The Wizard of Oz is on tv and my mom walked in as the Yellow Brick Road cut through the woods. She was talking and right in perfect timing with “Lions and tigers and bears” she exclaims, “Oh my, The Wizard of Oz is on.” This was not an accident, but I digress). But the worst part of the movie is its obviousness. You can tell what will happen, can call it all five minutes in advance. But it’s more than that. This film is full of what Nancy Meyers and co. seem to consider symbolism. There are at least a dozen instances that fall into this complaint. They would like to think of it as “subtle” and “tasteful”, and it is...if you consider being hammered over the head with one of the most average, trite screenplays of the year. That is why my head hurt, Nancy Meyers smashing me over and over again with obvious ideas screaming “Do you get it yet!?!?! Huh!?!” I felt terribly condescended to by the end of this movie. I don’t see how Nicholson and Keaton got through this one without having their eyes permanently rolled.
I had my hopes up for this movie, though I knew I should have weighed them down considerably. Nancy Meyers has never been one for top-notch work. This is the second time she has mucked up a decent premise (with What Women Want being the first). But hell, it’s Jack Nicholson; it should be good, no? But it isn’t all bad. The progression of the story and such, it’s all crap. You know everything that’s going to happen, trust me. But the film does have a very much above average quantity (and quality) of dialogue, mostly one-liners. They even managed to make a charming two scenes out of instant messages (that sort of thing could never be the base for an entire movie though *coughnoraephroncough*). This movie might have looked great on paper, and I can see why the talent involved signed on. It’s got one-liners aplenty, and must have been a fun read. Another aspect the movie has on its side is the cinematography. This is a fine looking film, and there’s no way it couldn’t be with Michael Ballhaus behind it (is he doing The Aviator? I sure hope so...). Most of it is just a standard romcom visual setup, but on occasion he gets to do some really poignant visual work. But with the more standard stuff he flounders, maybe he just isn’t used to it. I just don’t remember the last time a movie had such visually straight-forward scenes that I was actually distracted by it. He seemed just uninspired with those scenes, and Nancy Meyers has never been one to notice such things. But when he gets the right chance, he shows his stuff.
The one-liners and the charm with which they are delivered is the only reason that I feel this movie wasn’t a complete waste of time for me. But when the funniest part of the movie was the guy behind me saying to his date “Honey, isn’t this movie great...are you awake?” you haven’t succeeded. Last week I said there are movies out there that can make you a better person. There are also movies that do absolutely nothing, this is one of those movies. I can say though, if you are the type of person who usually enjoys a romantic comedy, you’re sure to like this one. If I had to pick, I think this is probably the most formulaic comedy of the year, which is a tragedy since Jack is in it. I can’t wait for his next one that will hopefully help me forget this one. Have a nice Christmas, and you lucky bastards who are currently at BNAT5, you shouldn't get any presents, you're getting more than your share in that 24 hours.
Minda
Here’s a UK perspective...
Last year Jack gave us the best line in cinema "Dear Undgu" and now he gives us the best line of this year "Shmucks are people too" And the film has many lines from the great man that make people laugh.
Big Fish was sweet. The Missing was brutal. 21 Grams sapped the energy from me. I wont even watch Sylvia - cos I dont wanna be despressed anymore. Elf was fun. Master and Commander was exceptionally well made cinema but the prospect Somethings gotta Give was a welcome relief from the seriousness this year is bringing us.
Jack plays a batchalor. A man in his 60's who dates beautiful women, gets away with it, owns "the second largest hip hop label in america" and loves his superficial life. Then he gets a heart attack - a fun hollywood heart attack where hes only in hosptial for a single hour it seems before going back to Diane Keatons Hampton house for some banter and foreplay... In fact... no more spoilers. If you wanna know the story go see the trailer or better still - see the film. Its all good fun.
Like As Good As It Gets marketed itself as a comedy this film does to but instead of Obsessive Compulsive Disorder - we get heart Attacks and new found perceptions of life... What makes this fun is the cast. Jack Nicholson is great. Diane keaton looks great and the back up of good cast make this work.
Technically the film is solid. I liked the Hamptons backdrops and although the interiors are obviously stagebound that technique does enhance the story. Also - credit to Michael Ballhaus - the DoP... He uses a lot of tricks to make sure both leading actors look as good as possible. Backlighting, soft lighting, filters, lens choices - all make sure that Nicholson and Keaton look at least 15 years younger than they really are. Descreet presision lighting at its best. Also - a special mention to the Second Unit - whose close ups of food hitting basins and fingers on keyboards are worthy of the finest packshots in the finest commercials... (almost better than the film itself!)
The film goes on a little too long... A little over 2 hours. After the first 30 minutes the mechanics are set up and then its all about execution and delivery. Just this baby takes forever to give birth. Is it Keanu or Jack? Keanu or Jack? Back to New York. They love each other. Commitment problems. A play to cast. They go to paris... A tighter script would have given this film an additional star and more confident editing would have compansated.
In all - a fun film. Always good to see Jack on screen - especially when hes doing Jack. 100's of great lines and even though hes more than a little podgy - still a great screen presence. At the best the film is summerised by the soundtrack. Fast and hip at the beginning and reduced to grown inspiring love balads at the end...
I've got Peter Pan on Friday, Cold Mountain on Sunday and Return of the King next week. Thats the last of the heavy hitters. Not quite 2002 (Adaptation, Confessions of a Dangerous Mind, The Pianist and the masterly City of God) and not even close to 1999 (Fight Club, Insider, Magnolia, Matrix, Iron Giant... ) but a reasonable year.
Remember film fans
Shmucks are people too
Truthgame
Okay. Neither one of those reviews convinces me that there’s anything other than exactly what the trailers showed already to be seen here. In the right mood, it sounds inoffensive. Is that a good thing?
"Moriarty" out.
